VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF ENGLISH LANGUAGE TEACHER EDUCATION GRADUATION PAPER THE ROLE OF READERSHIP IN TRANSLATI
INTRODUCTION 1.1 Statement of the problem and rationale for the study…
Research questions
Question 1: What were the strategies that Tinh Thuy used to translate profanities in New Moon and Eclipse?
Question 2: How does the stage of identifying readership affect Tinh Thuy’s decision on the strategies to translate profanities in New Moon and Eclipse?
Question 3: What are the responses of the target readers to the translation of these profanities?
Significance of the study
Each age group has a different perception on profanities and the use of it To teenagers, cursing is not just a way of expressing their frustration but also an action that makes them look more mature (Roberts, 2006) And to adult in general and parents in particular, using profanities is not a thing that teenagers should not do This difference in views of two generations put any translator in tough spot of choosing whether to translate these profanities or not Even when the translator decides to do so, how much literal he/she is willing to translate also puts the translator in a dilemma With this thesis, the researcher aimed at helping translators to find answers for these outstanding questions
In addition, although profanities and translating those words have been the subjects of research, little has looked in to translating profanities in novels for specific groups of readers In addition, in most of the studies, it was investigated under only one side’s point of view, mostly translators’; few studies include points of view of both parties Adopting latter approaches and focuses on the relation between readership and translator’s strategies to translate profanities in Young Adult
5 novel, this thesis is expected to give a more insightful look into what happened in the translator’s mind when he/ she is translating for a specific group of readers and to emphasize the importance of correctly identifying and profiling target readership.
Research method
This study utilized mainly qualitative method; hence, findings were concluded by analyzing materials collected from documents and interview
First, New Moon and Eclipse were read thoroughly to spot profanities within their contexts and to compare against their translations These profanities are identified by based on their features proposes by Anderson and Trudgill (1990, p
53) Each profanity and their translation were sorted based on their translation strategies These strategies include compensation, literal translation, softening, omission and cultural equivalence Through analyzing the frequency of each translation strategy, the researcher could gain more knowledge on the relationship between the translator’s awareness of the targeted readers and her decision while translating profanities
Next, the researcher interviewed the translator and conducted a survey of the readers on how they respond to the translation of profanities The participants were selected based on the knowledge that the researcher gained through a set of questionnaire to guarantee the objectiveness of the procedure The results of this contributes greatly to the final finding on how would readers react to different ways of translating profanities.
Scope of the study
The research chose to study New Moon and Eclipse from a famous Young
Adult novel-Twilight Saga The Vietnamese translations of Tinh Thuy were then
6 selected for analysis as first; they were published by a Tre Publishing House, which is a prestigious publication and second, they are the only officially recognized translation
Although the English and Vietnamese versions of the series were studied, only some aspects of the translation were mentioned and analyzed by the researcher
As stated in the title, the paper focuses on readership and its influence on the decision of translator when translating profanities However, given that the number of readers of Twilight Saga is high and might belong to different demographics, the researcher only chose its main target readers which are young adults who are from
13 to 25 year old to study
Readership has a tremendous influence on the translation process but in this paper, the researcher selected one area which is translator’s lexical choice Therefore, only profanities that appear in the second and third books of Twilight Saga and their translation were studied closely.
Overview of the study
This paper has five chapters:
Chapter I: introduces the study examining the influence of readership on translating profanities in YA novel within the case of New Moon and Eclipse The chapter includes a statement of the problem, objective of the study, research questions, and significance of the study, research method, and organization of the study
Chapter II: includes definitions of key terms such as YA novels and profanities and some theories and results of research related to these key concepts
Chapter III: explains in detail the methodology which has been utilized through describing research’s object, participants, instrument, the data collection and analysis methods and procedures
Chapter IV: presents the findings of the study after analyzing the data
Chapter V: summarizes the findings, discusses implications and offers recommendations for further researchers
LITERATURE REVIEW 2.1 Translation
Definition of translation
According to many scholars, translation can be considered one of the most significant jobs in modern society as it serves as a bridge to link countries to countries and culture to culture
Latishev (1988) suggested that translation is a form of communication:
“Translation is a type of language mediation, socially serving to approximate a mediated bilingual communication by fullness, effectiveness and naturalness to a common monolingual communication” (p.160) In another words, Latishev’s theory implied that translation’s role is conveying the messages in a complete, effective and natural way
Different from Latishev’s views, Newmark (1981, p.8) stated that translation is not just “communication” but “a craft” According to Newmark, this craft consists of “the attempt to replace a written message and statement in one language by the same message and/or statement in another language” Generally, to him, translation is a complicated process that required various skills of the translators, which is conveying the meaning of the original text and the author’s intention from one language to another Even though there are differences between two perspectives, a striking similarity can still be seen: “translation is the transposition of a text written in a source language in to a target language” (Weber, 1984, p.3)
Susan-McGuire Bassnett (1991) argued that the message is not the only element that needs to be transferred from SL to TL She claims that the structures of
9 the SL should also be “preserved as closely as possible but not so closely that the TL structures will be seriously distorted” (p.2) In short, this means that in addition to the meaning of the SL, the structure should be kept to an extent, which is, however, not compulsory as different languages may have different sentence structures
It can be concluded that translation is a process of transferring texts from the
SL to the TL When translating, the most significant element is the message, the overall meaning of the text The style and structure of the text should also need to be paid attention to since it would contribute greatly to the quality of the translators’ final product.
Literary translation
Regarded as one subcategory of translation, literary translation is applied on literary texts of all genres of literature, including drama, prose, and poetry Although each genre of literature possesses different forms and content, there are still some common characteristics which differentiate literature from other kinds of writing (Guerin, 1979) The first trait that characterizes literature is its ambiguity As literature can be subjective, its meaning might changes depended on one’s own interpretation Another characteristic is that literary texts are placeless and timeless
It is hard to oppose the view that masterpieces endure across the time and hold the same value in any place in the world Given its characteristics, according to Okeke
(1995), translate literary texts can be a challenging tasks because the translators have to master the language and be sensitive to art
When translating a literary text, a translator has to respect every feature by considering all syntactic, stylistic and aesthetic elements of the text (Newmark,
1988, p.1) Therefore, recognizing all significant characteristics of the literary text would support the translators greatly in fulfilling their task.
Readership in translation
In a society, there are many different groups of people with totally different characteristics, life styles, age, social class and personal preference that co-exist Therefore, before starting translating, translators should always take these elements into consideration
It is known in the translation studies field that Eugene Nida was the first linguist to introduce the concept of “readership” Previously, readership was generally a synonym of translation and readership was mistaken as a vague, imaginary person (Munday, 2001, p.20) With his theory of dynamic equivalence, Nida (1968, p.160) presented the idea that translators should not only pay attention to transferring the ST to the TT, but also to communicating with its readers
After Nida’s idea, the interaction between translators and readers started receiving recognition and being seen in a different light Gradually, readership became a decisive factor in translation process: “Translators are always translating for their readers, they are always acting in a dialogic relationship with the author of the original, publishers, and, above all, the future readers of the translation“
2.2.2 The role of readership in translation
Nida is not the only scholar to recognize the significance of readership; many have done and continued studying its role in translation process On the role of target readership in translation, Reiss and Vermeer (1984, p.101) claimed that adequate knowledge of the intended target group enables translator to choose the correct translation strategies Agreeing with Reiss and Vermeer’s conclusion, Nord
(2005, p.11) added that translators can establish the function of the text and fulfill the clients’ needs better if they have more detailed information about the TT addressees Thus, it is recommended by many experts that translators should pay proper attention to the target readership of the TT
However, determining how much attention should be paid to readers of TT is not a simple job According to Newmark (1988, p.13), translators have to
“characterize the readership of the original and then of the translation” in the ST analysis process Newmark also stated that knowledge about the level of education, the class, age and sex of ST readership can be gained by evaluating “the variety of language used in the original” (p.13) Although Newmark emphasized how the full understanding of target readership can benefit translators in terms of choosing a proper tone and degree of formality for the text, he suggested that translators of
“poems or any work written primarily as self-expression” only need to care little about its readership”(p.13) On the other hand, some experts believe that readers play an enormous role in the success of a translation Nida and Taber (1982, p.1) supported this view by arguing that the correctness of a translation is hugely determined by “the extent to which the average reader for which a translation is intended will be likely to understand it correctly" Their view is also similar to
Weber’s that considers it is translators’ responsibility to translate in the way “that can be easily understood by the reader” (1983, p.3) Since the 80s of the 20 th century, the status and role of readers in translation process have been highlighted, influencing the translators’ decision-making process
Generally, the role of readership is increasingly acknowledged by linguistics and translators worldwide As a result, having readers in mind has become a common practice in the translators training and professionally translation.
Young adult novels
Pinpointing the exact definition of Young Adult can be quite difficult as there is no fixed range for the age of adult and the term “young” is quite subjective However, there have been many attempts to identify the term “young adult”
The Young Adult Library Services Association firstly used the term in 1960s
12 to represent people in the 12- 18 age range (Cart, 2001) Since then, the concept and its meaning have gradually changed with time Goodreads, a website of Amazon that has more than 12 million members, specified the age range of YAs as from 13 to 21 It can be seen that the term “Young Adult” no longer limits to people in their teen but it has expanded to people in their early twenties as well Cart, the former president of the Association, shared a similar view and states that the age for young adult novel can even be extended to age 25 when, he explains, human brains reach maturity (Cart, 2001) Explaining why there are many opinions on this one term, Le Phuong Lien, Head of the Children’s literature at Kim Dong publishing house, said that since people grow up in different environment and their experiences, the age range of young adult is not fixed (Anh, 2011)
Despite all debates over the age of YAs, many psychologists have conducted studies and agreed on many certain significant and distinctive characteristics of YAs In one of his research on adolescents’ psychology, Havighurst (1972) described the phrase as a time when adolescents prepare for the lifetime ahead of them According to Havighurst, in this stage, YAs try to become independent from parents, start accepting and proud of their roles in the society as well as their physical feature and form and develop their set of values and an ethical system, etc
In other words, YAs are at vital stage where they search for their identity
Overall, the term “YA” is determined by both physical and mental maturity of a person, making it quite hard to identify correctly Nevertheless, it is save to conclude that “YA” refers to a transitory phrase of human’s life when a person realizes it’s time for them to say goodbye to their childhood and start taking their first steps on the road towards adulthood (Nilsen & Donelson, 2001)
The term Young Adult novel, which can be used interchangeably with many other names, for instance ‘Literature for Adolescence’, ‘YA Fiction’ and ‘Teen
Novels’, is broadly defined as the material written, published and marketed for people age twelve and up (Young Adult Library Services of the American Library Association, 2011) The genre can also be defined as ‘anything that readers between the approximate ages of 12 to 18 would choose to read’ (Nilsen & Donelson, 2001) These two definitions agree that the readership should be at least 12 years of age and more importantly, that the content is intentionally developed to suit the interest of young adult readers
Knowles and Nakmjaer (1995) described the genre as a type of reading material that created to satisfy the demand of “readers [who are] too old for children’s stories and not yet ready for ‘adult’ literature” (p.142) This might be a reasonable definition of the term as it concludes the most basic characteristics and position of YA novels among other kinds
Since it was first emerged, YA novels have been often mistaken as children literature (Cart, 2001) As time passed by, this perception has gradually been corrected because people have realized that YA novel is a distinctive genre, different from other literary genres
The first difference between this type of novel with others such as Adult and Children one is the subject they discussed According to Lamb (2001), YA novels can deal with “intense and serious subject” as people from this age group have
“high tolerance for ambivalence in both character and plot” (pp 24-25) For instance, situations such as “sex, death, family tensions, social class, teenage violence and race relations” (Knowles & Malmkjaer, 1996, p.142) might never appear in children literature but can be featured in novels of this genre In addition, the main character is also a factor that sets YA novels apart from other literature genres (Bronzo & Simpson, 1995) They concluded that YA novels always center on a likeable young adult protagonist who readers can identify with These characters
14 are likely to face events or problems that related to the life of young adults By creating those characters and situations, YA novels can provide readers with what they want about themselves in books
With the rapid growth in recent years, YA novels have eventually found their place in literary field, separating themselves from other kinds of literature.
Profanity
Hughes (2006, p.362) claimed that the Latin word, fanum, meaning “a temple” is what “profanity” comes from Initially, the word refers to action or words that “desecrate or violate temple” However, as time passed by, its religious association gradually became uncommon and nowadays, the word is generally defined as a “vulgar or irreverent action, speech, etc” (Collin English Dictionary, n.d.) According to Hughes, profanities, in America, “fall under the board category of swearing” In fact, “profanity” is synonymous with various broad terms such as
“cursing, dirty, profane” and “swearing” (Andersson & Trudgill, 1990)
A profanity, or swearing, is considered a common feature of human communication in most societies and cultures Asher (1994) defined swearing, or profanities, as words aiming at a person or object to “invoke damnation, misfortune or degradation” (pp 4512-13) Profanities usually relates to “personal and bodily functions, sex or religion” (Fernandez, 2006) In most cases, profanities are used to express strong feeling and emotion such as anger or frustration towards a person or an object In most countries, profanities are regarded as the “most obvious forms of bad language”, therefore, inappropriate in the most contexts (Andersson & Trudgill,
Every culture has its own set of profanities, so the exact characteristic of those words can be listed fully This is the reason why the line between profanities
15 and others acts or words is ill defined As an attempt to characterize profanities, Andersson and Trudgill (1990, p 53) came up with three following features:
- Profanities refer to something that is taboo and/or stigmatized in the culture;
- Profanities should not be interpreted literally;
- Profanities can be used to express strong emotions and attitudes
However, profanities also have its positive and significant meaning in the societies Lakoff (2004, pp.242) asserted that “profanities serve as a condensed symbol of the expression of emotion in talk, and the right to “cuss” is a sign of the right to express emotion” In other words, using profanities sometimes can be an act of showing freedom and rights to vent out one’s own emotion
Although there are countless words and expression that considered profanities, not all of them have the same meaning and degree of offensiveness Some words are even regarded as a part of daily conversation in some countries, whereas some type are so intense that they are prohibited to use For example, in some American broadcast television, severe profanities are censored There have been many attempts to classify profanities Andersson and Trudgill (1992, p.60-61) put profanities into four categories based on their uses These four categories are expletive, abusive, humorous, and auxiliary
- Abusive: abusive words are directed towards others They insult and offence others by cursing or calling them bad names You bastard! is one example of this type
- Expletive: profanities in this are used to express emotions These words do not aim at any certain person or object Some examples are Hell! and Shit!
- Humorous: profanities of this kind occur in jokes or are used for humorous intent
- Auxiliary: in this group using swearwords is like a way of speaking
Some examples from this type of profanity are this fucking X.
Translating profanities in YA novels
The process of translating a text for different audience can be similar The most prominent difference between translating for YAs and other groups is obviously the target readership As stated in the previous part, literature has great impact on the character development and well being of YAs; hence, it is understandable to conclude that the task of translating novels for YAs is extremely important Consequently, to fulfill this task successfully, translators have to satisfy many criteria
Translating for YAs or for any other audience has to firstly, be faithful to the
ST, if not, the product would lose all its value Being unfaithful is equal to simply publish books written in translator’s own words (Roy- Seifert, 2004)
Secondly, knowing one’s target audience is recommended but letting it consume all translators’ thought and control their decision is a different story If the translators become obsessed with making the text educational and suitable for YAs, the story would lose its appeal and become an uninteresting and pedagogical book (Roy-Seifert, 2004)
In summary, translating for YAs, just like translating for any group of readers, requires respect for the ST and knowledge of the characteristics of the targeted audience
2.5.2 Translating profanities in YA novels
Since every culture and every generation has different perception on swear words, leading to different evaluation on the appropriateness of using profanities in
17 various situation, those profanities is sometimes distorted when being translated into foreign languages Schwarz (2003) further explained this by emphasizing that some cultural terms and expressions do not have their true equivalents in the other languages
Translators of Young Adult novels often have to carry many responsibilities as through translating young adults’ reading material, they contribute greatly to the personality shaping of future generations Toury (1995) asserted that the role of translator appointed by the societies is to translate in a way that fit to the community’s standard This means the work of translators might be affected and under the influence of culture and its standard As the result, when translating for young generation such as YAs, profanities and other controversial issues might be altered or even omitted by the translators In conclusion, because of cultural standard and expectation, translators sometimes can translate all profanities in YA novels, which make the novel “to be conventional, even conservative in some cultures” (Puurtinen, 1998, p.159)
2.5.3 Strategies to translate profanities in YA novels
Because of the variation of meaning and level of offensiveness in profanities in different cultures, translating offensive language can be a tough enterprise Up to now, there has not been any comprehensive model or list of strategies that is introduced to translate profanities in general, let alone those in YA novels After conducting a review, the researcher realized some popular translation strategies suggested by the theorists, including compensation, literal translation, softening, omission and cultural equivalence (Newmark, 1995; Munday, 2004; Baker, 1992; Vinay, 1995; Hatim, 2001)
Literal translation, also called word-for-word translation, refers to the action
18 of translating ST straightforward in to TT As Newmark suggest that when using this strategy, words might become out of context as it was translated one by one
(1995) In another word, it is effective only when the sentence is simple and each word has primary meaning
Munday explained the strategy as follow: when the words cannot be translated literally, translators have to use compensation strategy to “minimize the losses in translation and at the same time, achieve a compensatory translation gain”
(2004, p.31) He stated that with this strategy, the effect of the word can be preserved but in a different place
Some scholar find softening the meaning of the word and expression is a reasonable way to deal with profanities In this strategy, translators try to replace the word with another one that is less intense or unpleasant and at the same time, stay faithful to the content and form of the original (Vinay, 1995; Hatim, 2001)
This strategy does not focus on the meaning of a words but it try to give the reader of the text a similar feeling or impact This strategy replaces the words in the
SL with a similar culture-specific item The most prominent advantage of this strategy is that instead of bringing a foreign concept which readers are not familiar with, it gives the reader a more appealing and familiar (Baker, 1992)
In this option, translators simply omit translating the word or expression in the ST Baker claims that "a translator may decide to omit or replace whole stretches of texts which violate the reader's expectations of how a taboo subject should be handled - if at all - in order to avoid giving offence." (Baker, 1992, p.234)
METHODOLOGY 3.1 Research subjects
Participants
This research investigated deeply into the translator’s awareness of target readers and how this awareness affects her decision as well as readers’ response to her translation of profanities Therefore, to accomplish these objectives, the researcher asked two groups of participants to take part in the study: the translator and the readers All participants were informed that the contents of their answers are absolutely anonymous, allowing them to give honest and sincere responses
The first group is the translator of The Twilight Saga, Tinh Thuy This participant was interviewed about her idea of readership of the series and various other areas related to translating profanities in YA novels Tinh Thuy is a well- known translator in YA novels genre She has translated fours books of the Twilight
Saga and several other YA novels such as I Am Number Four Therefore, with her sharing her experiences and opinions, the researcher expected that the quality of the study would be improved
The second group is the readers The researcher selected the participants for the study based on the following relevant qualities: from 13 to 25 years old and have interest in taking part in the study Since participants had to read several extracts from New Moon and Eclipse to make comment on how they prefer the translator to
21 translate those profanities, participants had to have basic knowledge of English This criterion is determined by participants’ average English grade at school (8 and higher) or their IELTS or other official tests’ score (5 and higher with IELTs score) With those whose vocabulary on English profanity is limited, the researcher explained to them their meanings and their uses before the interview Due to time constraint, only 12 people were chosen for this paper to gain in-depth discussions Before choosing participants, the researcher gave questionnaires to various people who were interested in the topic Then, these 12 chosen interviewees were selected by the researcher based on their answers in the questionnaire The researcher tried to choose participants with different opinions to enrich the data for analysis Since these participants were interested in the study, the researcher could work with them closely to hear their opinion on the subject of the research
In this paper, the researcher used letter from A to L to name these interviewees to keep their identities unrevealed See Table 3.1 below for the list of interviewees
Group Sq Age Gender Code
Data collection method
Since the first step of studying the influence of readership on translating profanities is to gain more knowledge about Tinh Thuy’s translation in general and her strategies to translate profanities in particular, the researcher chose document observation as a first method Two observation schemes were used for answering the first research question which related to translation strategies applied by Tinh Thuy
The first table was used to put all profanities and their translations in New Moon and Eclipse These profanities are identified based on their characteristics given in 2.4 of the study
The second table was created to find out which strategies were applied by the translator to deal with profanities of each type These strategies include compensation, literal translation, softening, omission and cultural equivalence In this table, profanities and their translations were classified
The questionnaire is used for gaining knowledge on readers’ opinion and not their reasons for their view, it contains mostly MCQs and has three parts The first part focuses on readers’ opinion on profanities in YA novels The second part asks readers how they would like these profanities to be translated to Vietnamese The last part centers on Tinh Thuy’s translation of profanities in New Moon and Eclipse
The questionnaire was also utilized to help the researcher design the interview guide for following in-depth interviews with each participant In summary, this instrument played important role in the finding of the third research question which related to readers’ response
There were two groups of interviewees The first one is the translator With this interviewee, a structured interview was conducted A list of 3 main open-ended
23 questions and several bullet points that help guiding translator’s answers were complied and sent to the translator The topic of these questions were related to the translator’s awareness of the readership, her opinion on profanities and censorship in
YA novels as well as her choice of translation strategies
The second group is the readers With each participant, the researchers made an exclusive set of question for him/her based on her answer in the questionnaire However, all of these questions were created within the guidance of the interview guide In this interview, the researcher mostly asked participants about their opinion on the translation of Tinh Thuy.
Data collection procedures
The procedure of data collection consists of three main stages:
First, the researcher carefully read the English version of New Moon and
Eclipse, isolated the profanities and made a list of them Then, the profanities and their translation were classified into 5 categories based on their translation strategies The extracts with most significant features were put in the separated columns for analysis in chapter 4
In this stage, the researcher interviewed the translator with the set of questions that related to translating profanities, identifying target readers and the influence of the latter on the former one These interviews were conducted online and through email Therefore, the answers of the translator were in a written form The researcher saved this email as material for analyzing
After successfully choosing participants for the interview, the researcher made appointment for in-depth interviews Some possible questions and follow-up questions were also drafted based on participants’ answers in the questionnaires to make sure the researcher have enough material for the study.
Data analysis procedures
The analysis was done through several stages
The researcher studied all collected extracts to conclude which strategy was used the most by the translator
The answers that the translator gave in her interview were analyzed to find out her attitude toward profanities in YA novel and her awareness of readership when translating those words In summary, in this stage, the researcher could conclude how readership affected the way translator translate profanities in YA novels
This stage concerned with readers’ reception or response The data collected from in- depth interviews with readers was analyzed in this stage The results of this stage were then compared with the results of Stage 2 to conclude what assessment each translation might receive from readers
DISCUSSION AND FINDINGS 4.1 Research question 1: Strategies used by Tinh Thuy used to translate
CONCLUSION 5.1 Summary of findings
Limitations of the research
Even though all requirements of a proper scientific research such as giving answers to all raised questions, having reliable background theories and logical methodologies have been fulfilled by the researcher, this paper still has some weaknesses
Among the data collection methods, in-depth interview is the method that could be improved if the researcher were given more time As each participant was interviewed closely and carefully, the researcher could only choose 12 of them to make sure that she could spend adequate amount of time on analyzing the data For
40 this very reason, the study cannot list for sure all the response of readers on the translation of profanities in New Moon and Eclipse More interviewees with diversity in reading preferences and habits, ages, genders and personalities would greatly contribute to the already-various opinions of the readers in the finding, making the study more valuable as a reference for translator
The researcher’s process of carrying out the study did not allow her to fully connect the data provided by the translator and the readers The interviews with the readers were supposed to be arranged after one with the translator In that way, the researcher would not only gain more knowledge on readers’ response to the translation of profanities but also their opinions on to the translator’s view As a result, the research does not have much comparison between the translator’s assumption about targeted readers and readers’ real preference This limitation can be avoided by having more time to conduct the research.
Recommendations for further research
As this research focuses on readership’s influence on translating profanities in
YA novels which has not been frequently investigated, future researchers can take many other approaches to further study this problem
Firstly, the Twilight Sagas might not be the best candidate for the study of profanity translation However, as readership and YA novels are also important chosen elements of the research and the series is famous among Vietnamese readers, the two novels were chosen as the setting of the thesis If future researchers are interested and want to dig deeper, novels that target more mature readers can surely provide a more diverse and intense pool of profanities and their Vietnamese translation
Secondly, publishers, like mentioned by Tinh Thuy in the study, can also play a big part on shaping the final product of the translation Because of their tremendous
41 importance, all three factors: readers, translators and publishers can be the subjects of upcoming research Therefore, for those who have access to publishers and editors, this suggestion may not be a helpful one
Thirdly, instead of conducting interviews with limited number of participants, researchers can survey on a larger group of readers by turning this qualitative study into a quantitative one The questionnaire used for the selection of interviewees in this thesis can be the foundation for a more detail and profound set of questions to give to readers
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APPENDIX 1 Table A: Profanities and their translation in New Moon
Crap 1 He was supposed to go to college, but he stayed And no one gave him any crap about it, either
Vâng Lẽ ra anh ta đã phải vào đại học rồi , nhưng anh ta cứ trì hoãn
Mà cũng chẳng có ai nhắc nhở anh ta chuyện đó
2 Anguish replaced some of the bitterness in his face “Right,” he agreed, and took a deep breath
“Crap Well I—I’m so sorry, Bella.” The apology was sincere, no doubt about it, though there was still an angry twist to his features
Ngay tức thì, vẻ gay gắt, cay nghiệt trên nét mặt kia bỗng được rũ bỏ, thay vào đó là một nỗi thống khổ tột cùng Đúng vậy – Cậu ta lên tiếng thừa nhận, và hít vào một hơi thật sâu – Khỉ gió thật Ừm… Em, em xin lỗi chị, chị Bella!
Lời xin lỗi rất thành thật, không còn gì về điều đó nữa, dù rằng trên gương mặt của cậu ta vẫn còn đọng lại một chút giận dữ
3 “OH!” The breath whooshed out of Jacob like someone had punched him in the gut “Holy crap!” He slammed the door and twisted the keys in the ignition in the same moment His hands were shaking so hard I didn’t know how he managed it
-Ốiiii! – Jacob bỗng thở hắt ra như thể vừa bị ai đó thụi một quả đấm vào bụng - Quỷ sứ thật!
Vừa dứt lời, người bạn nhỏ bỗng đóng sập cửa lại, đồng thời vặn chìa khóa công-tắc Đôi tay của cậu run rẩy dữ dội đến độ tôi không hiểu nổi làm sao cậu có thể khởi động được máy xe
4 “Oh, crap,” I croaked My throat was thick with sleeping “What’s wrong, Bella?” I frowned at him unhappily His face was even more anxious than before “I’m dead, right?” I moaned “I did drown Crap, crap, crap! This is
- Thôi, chết rồi - Tôi thều thào Cổ họng vẫn còn nghẹn trong vô thức
- Em làm sao thế, Bella?
Tôi cau mày nhìn anh một cách buồn bã Gương mặt của anh thậm chí còn
50 gonna kill Charlie.” Edward frowned, too “You’re not dead.” lo lắng hơn cả vừa nãy
- Em chết rồi, phải không anh? – Tôi rền rĩ – Em bị chết đuối Chết rôi, chết rồi, chết rồi! Điều này sẽ giết bố em mất
5 His face turned bright red He took a few deep breaths before he answered “Would you like to explain where you’ve been?” Oh, crap “There was an emergency.” He raised his eyebrows in expectation of my brilliant explanation
Gương mặt của bố chuyển sang màu đỏ ửng Bố hít vào một hơi thật sâu trước khi lên tiếng đáp lại
-Con có thể giải thích cho bố biết là con đã đi đâu không?
-Dạ……chuyện khẩn cấp lắm bố
Bố nhướng mày lên, chờ đợi một lời giải thích xác đáng của tôi
6 “BELLA!” Charlie’s roar echoed from the direction of the house
“YOU GET IN THIS HOUSE THIS INSTANT!” All of us froze, listening to the silence that followed I was the first to speak; my voice trembled “Crap.”
- BELLA! - TIếng gầm của ngài cảnh sát trưởng bỗng vang vọng trong không gian, xuất phát từ phía ngôi nhà – ĐI VÀO NHÀ NGAY!
Cả ba người chúng tôi trong giây lát đứng sững ra như trời trồng, lắng nghe tiếng thở dài câm lặng tiếp theo của đất trời bao la
Tôi là người đầu tiên lên tiếng, giọng nói run rẩy
7 Saturday, I decided to go see him, invitation be damned But the
Thứ Bảy, tôi quyết định xuống La Push thăm Jacob, hừm, hứa với chả
51 little red house was empty hẹn
8 Damn it, open the window! -Bella! – Kẻ kia rít lên – Úi! Quỷ tha ma bắt, mở cửa ra! Úi!
9 “Fight!” he yelled “Damn it,
-Cố gắng lên! - Tiếng anh bật thét - Quỷ tha ma bắt, Bella, em hãy cố gắng lên đi
10 “It’s not your fault at all I’m the one who jumped off the damn cliff Of course I forgive you.”
Thật ra chị chẳng có lỗi gì cả Quả thật em đã lao người ra khỏi vách đá Lẽ tất nhiên là em tha thứ cho chị
Hell 11 “How the hell did Mike Newton end up in this conversation?”
I demanded “Mike Newton ended up in this conversation because Mike Newton would be a hell of a lot healthier for you to be with,” he growled
-Anh nhắc đến Mike Newton là vì ở bên cái tên đó, em luôn được an toàn-Edward càu nhàu
Tôi cũng không rõ là mình đang làm cái quái quỷ gì ở nơi này nữa
13 I stared at the phone for a long minute What the hell, I decided
Mắt tôi nhìn chằm chặp vào cái điện thoại đến cả một lúc lâu Rõ là quỷ tha ma bắt – cuối cùng, tôi cũng quyết định xong
14 “the hell I don’t!” I snapped “I want to know, and I want to know now.”
-Chị không muốn biết đâu
-Không cái con khỉ! – Tôi nạt nộ - Chị muốn biết đấy, chị muốn biết, ngay bây giờ
15 “What the hell are you thinking?
Is she more important than everything—than the whole tribe?
Cậu đang nghĩ cái quái gì vậy, hả?
Cô ta quan trọng hơn mọi thứ hay sao quan trọng
Than the people getting killed?” hơn cả bộ tộc à? Hơn cả những nạn nhân bị giết hại nữa chứ?
16 “You look like hell, Bella.” “I drowned today,” I reminded her
- Trông bạn tệ quá, Bella ạ
- Thì hôm nay mình vừa mới suýt chết đuối mà – Tôi nhắc cho cô bạn nhớ
17 “Hell, yes!” He grinned “We can find some other way to pick a fight with this Demetri.”
Trời ơi, tôi ủng hộ Bella chứ còn sao nữa! – Anh cười toe toét làm cho khóe miệng kéo xếch tới tận mang tai – Tôi vẫn có thể tìm được cách khác để đấu một trận với tay Demetri này
18 “That’s none of your business.”
“The hell it—” was all he managed to choke out I didn’t expect my hasty words to bring on such a strong response
- Chết tiệt… - Cậu ta chỉ thốt được có bấy nhiêu
Tôi không ngờ lời nói thẳng của mình lại có một sức tàn phá đến như thế Mặc dù Jacob đến đây là để nhắc nhở, nhưng cậu ta không hề hay biết nội tình của tôi screw 19 “I’m not going to let anything happen to Charlie.” Jacob’s low voice was gruff and angry
- Tôi sẽ không để cho bất cứ điều gì xảy ra với chú Charlie đâu– Giọng nói của Jacob tuy nhỏ nhưng rât cộc cằn và tức tối – Hứa chắc đấy
Sucks 20 “That’s okay You sure can pick them, Bella This movie really sucks.”
- Được rôi Chắc chỉ có chị mới chịu nổi mấy cảnh đó thôi, Bella- Phim này quả là kinh dị quá
21 “I’m so sorry I made you go out with me This sucks.”
- Chị xin lỗi đã bắt em đi với chị Tệ quá đi mât
22 I can’t imagine what it was like for Sam, trying to deal with this alone It sucks bad enough to go through it with a whole pack for
Em không thể tưởng tượng được Sam đã ra sao, khi phải một mình trải qua những điều ấy một mình Trong khi cứ thực mà nói, có cso cả
53 support.” đội bên cạnh giúp đỡ mà cũng còn phải chịu lắm gian truân nữa kìa
23 “That’s the kind of thing we need to know about That really sucks that those stories are true It makes everything more complicated