Đề tài How to translate some of the metaphors in Harry potter Books ( book 3 and book 7 ) into Vietnamese

aimed at in order to achieve the best equivalent effect. II.1.3.2. Types of equivalence Basing on text meaning, Koller ( 1995) classifies equivalence in translation in five categories : 1. Denotative equivalence: source language and target language words refer to the same thing in the real world. For example: - Tomato (a soft fruit with a lot of juice and shinny red skin that is eaten as a vegetable either raw or cooked) - Cµ chua ( mét lo¹i qu¶ mÒm, nhiÒu n­íc, vá bãng ®á, cã thÓ ¨n sèng hoÆc nÊu chÝn) 2. Connotative equivalence: in addition to denotative value, source and target language words should produce the same communicative values in the mind of native speakers of the two languages. For example: - Your Majesty. - Mu«n t©u BÖ H¹! 3. Text- normative equivalence: source and target language words use the same or similar text types in their respective languages. For example: - Your faithfully, - KÝnh th­, 4. Pragmatic equivalence: source and target language words have the same effect on the reader or mainly aiming at the receiver to whom the translation is directed. For example: - She’s a cunning fox. - Mô giµ quû quyÖt. 5. Formal equivalence: source and target language words have the same formal aesthetic features, orthographic or phonological features For example: - To be, or not to be: that’s the question (Shakespeare, Hamlet) - Sèng hay kh«ng sèng-®ã lµ vÊn ®Ò Nida and Taber (1982) views equivalence as merely two types: Formal correspondence: focuses attention on the message itself, in both form and content. Dynamic equivalence: based on “ the principle of equivalent effect” Meanwhile, Baker (1992) identifies equivalence in translation more comprehensively as equivalence at and above word level; grammatical equivalence; textual equivalence; and pragmatic equivalence Though from theorists’ point of view equivalence could be categorized in different ways, it is the translator to decide when priority should be given to either form and meaning of the text to translate. This matter also concerns translation methods and procedures, which are discussed right in the next part. II.1.4. Translation methods Translation, as mentioned, is viewed as a process and a product. Translation methods provide translators with a theoretical background of how to translate in the most appropriate way. In other words, the final products are certainly different from each other in form, style, meaning and value. It is apparently the translator to have his own option among these methods so as to achieve the most satisfied final translation. In translation studies, the translation methods suggested by Newmark( 1985, p.45-53) are highly appreciated. He introduces eight methods in the form of a flattened V diagram: Source language emphasis Target language emphasis Word-for–word translation Adaptation Literal translation Free translation Faithful translation Idiomatic translation Semantic translation Communicative translation Newmark explains word-for -word translation is “the interlinear translation” where “ the source language word-order is preserved and the words translated singly by their most common meanings, out of context” ( p.45-46). As for literal translation, “the source language grammatical constructions are converted to their nearest target language equivalents but the lexical words are again translated singly, out of context” (p.46). Faithful translation “attempts to reproduce the precise contextual meaning of the original within the constraints of the target language grammatical structures” (p.46). In other words, it transfers cultural words but preserves lexical and grammatical abnormality. In the right wing emphasizing the target language, adaptation is “ the freest form of translation” (p.46), mostly used for plays, poetry and songs. Free translation by nature could be regared as in trailingual translation since it is usually a paraphrase much longer than the original text. Idiomatic translation also reproduces the message of the original text but “tends to distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original” (p.47) Among these eight translation methods, semantic translation and communicative translation fulfill the two main aims of translation, which are, first, accuracy, and second, economy “(19995,p.47). Besides, they “treat the following items similarly : stock and dead metaphors, normal collocations, technical terms, slangs, colloquialisms, standard notices, phaticism, ordinary language” However, there are clear differences between semantic and communicative translation. Semantic translation emphasizes the source language while communicative translation the target language. Hence, semantic translation is author-oriented, written at the author’s linguistic level and is used for “expensive” texts. . In semantic translation, the translator “follows the thought process of the author” , i.e being faithful to the author’s style, word choice, expression, etc Meanwhile, communicative translation is reader-oriented, written at readers’ linguistic level and is used for “informative” and “vocative” texts. In communicative translation, author’s status is not significant. The importance lies in information conveyed and whether readers could understand it. The translator, therefore, is allowed to edit or correct the source language text if necessary, so that his translation is not only accurate but also comprehensible to general readers. Bearing in mind characteristics of each translation methods could be very helpful for translators, particularly I the phase of synthesizing semantic meaning and re-expressing it into the target language. II.2. Metaphor II.2.1. Definitions Metaphor is one of the literary devices, belong to figurative language. The longman Dictionary of Contemporary English says that: “when a word or phrase is used in a figurative way, it is used about something different from what it normally refers to, to give you a picture in your mind” ( Ldoce.1995, p.515) . So, in other words, metaphor or the figurative language is an imaginative comparison between two unlike object or is language that directly compares seemingly unrelated subjects. In the simplest case, this take the form : “ The [ first subject] is a [ second subject] “. More generally, a metaphor is a rhetorical trope that describes a first subject as being or equal to a second subject in some way. According to An introduction to literary study written by Nguyen Trung Tanh, metaphor is the figure of speech expressing indirectly ( by implication not using as or like ) a resemblance in one or more points of an object in one class to an object of another class ( in general figurative language broadly ). In linguistics, metaphor is one of the most conventional notions frequently mentioned with metonymy, synecdoche, hyperbole, litotes and irony, metaphor is traditionally defined as the hidden comparison, the transference of meaning, “ the transfer of a word or phrase to an anomalous context” or “ the transfer of concepts between domains or semantic fields” ( Backman 1991 ). In the light of translation studies, Larson defines metaphors as grammatical forms which represent two propositions in the semantic structure, as any figurative expression: the transferred sense of physical word, the personification of an abstraction, the application of a word or collocation to what it does not literally denote. In conclusion, metaphor is defined as the figurative language, which is an imaginative comparison between two unlike object, in which the characteristics of quanlities of one object are applied to the other or contrast them to one another, without using as or like . For examples "I am a rainbow" is an example of metaphor because it is comparing two nouns, a person, and a rainbow, but does not use like or as. "I am not anger" is an example of metaphor because it is contrasting two nouns If you give someone a cold stare or an icy look, it mean you took on the qualities of the winter to refer that you feel unfriendly and lack warmth toward them If you say: “I’m afraid I’m at sea with his math problem” . It mean you are not good at math and completely nervous and do not know what to do with his math problem. Therefore, metaphors are for the purpose of cognition and aesthetics and always concern illusion and imagination. He comes to conclusion that a metaphor is a kind of deception, often used to conceal an intention ( Newmark,1995, p.104) II.2.2. Types of metaphor There are a lot of ways to categorize the metaphors. The more commonly identified types of metaphor are that : extended metaphor, dead metaphor, and synechdochic metaphor. Other types of metaphor have been identified as well which not as universally accepted : active metaphor, absolute or paralogical metaphor, experiential or learning metaphor, complex metaphor, compound metaphor, submerged metaphor, root metaphor, conceptual metaphor , dying metaphor and implied or unstated metaphor. In linguistics theory, metaphors are divided into three categories : living metaphor, faded metaphor and dead metaphor. While Newmark (1995,p.106-113) suggests six types of metaphors, namely : dead, cliche, stock, adapted, recent and original metaphor ; Nguyen Trung Tanh considers four types of metaphors : personal, extended, mixed and dead metaphor, Larson views them as live and dead metaphor , which timely are for this research’s purpose. Dead metaphors are quite familiar idiomatic expressions that have been used for a long time and readers could understand them immediately without thinking of the comparison on which they were based. In other words, dead metaphors are idioms that could be looked up in dictionaries. For example: The leg of the table Run into debt Foot of the stairs The head of state Foot of the class Live metaphors are not often easily understood at one and readers should base themselves on the context to find out the hidden meaning. For example : From the distance the tractor appeared to be floating over the hills riding up to their crest and down to their hollows, the wheat undulated as the wind paned over it making waves.( Larson, 1984,p.250) Larson states all italic words are live metaphors, making a sequence of metaphors in which the harvest of wheat is compared to the ocean. Live metaphors are frequently used not only in literary words but also in other fields and subjects of writing: science, technology, economics,… The following sentences are examples: The relatively low contribution of technology to the economy is likely to turn from a curse into a blessing this year. The 20th century began with powerful countries competing to take advantage of Earth. As an outcome of their hunger for power, the Earth was abused, treatedly badly. Now people all over the world are living with the problems caused by this greed. This, in turn, leads to the following criteria for distinguishing living from dead metaphors: Only when one can no longer see evidence of life, can a metaphor be officially declared dead: but a metaphor- living or dead – is always new and alive to someone hearing it for the first time. Thus this distinction seems far more scholastic than practical. The boundary between live and dead metaphors is supposed to be very hazy, depending on cultural and linguistic features of each language. Besides, a metaphor may be dead in a certain language but totally a live one in another. The following part of the graduation research paper regards metaphors as live and dead metaphors and discusses how to recognize metaphoric cases and problems evolved in translating metaphors. II.2.3. Recognizing a metaphor II.2.3.1. Metaphor and simile Metaphor and simile are two of the best known tropes and are often mentioned together as examples of rhetorical figures. Metaphor and simile are both terms that describe a comparison Simile is the comparison of two unlike things, it express directly and explicitly a resemblance in one or more points of an object of one class to an object of another class, use “ like” or “ as” Metaphor, actually is a condensed simile for its omit “as” or “like”. It is a shortcut meaning, it sets two unlike things side by side and makes us see the likeness between them For example: When Robert Burns wrote “my love is like a red, red rose “he used a simile. But when Robert Herrick wrote “You are a tulip” he used a metaphor. The simile is always poetic, while the metaphor always has a ring of truth. Typically, needing further explanation, it’s probably a simile but making instant sense, it’s most likely a metaphor ( perhaps this is why metaphors readily become accepted into language as “ dead metaphors” while there is no such thing as a “dead metaphor” II.2.3.2.Metaphor and idiom The Cambridge dictionary defines Idiom is a group of words whose meaning considered as a unit is different from the meanings of each word considered separately. And metaphor is an expression that describes a person or object by referring to something that is considered to possess similar characteristics Very often, an idiom has no association to metaphor, being simply a phrase that becomes adopted by language as if a single word. These idioms are not readily confused with metaphor, though there are times when an idiom is also a metaphor or metaphor system. A good example is the "carrot and stick". The "carrot and stick" idiom refers to the use of enticement and punishment to motivate a horse or donkey. The carrot was dangled before the animal as a lure, while the stick was used to reprimand stubbornness. Without knowing the relationship between carrot and stick, the group of words seem out of place in a sentence, which is central to its identification as an idiom. However, in its common use, this idiom makes metaphorical equations, such as this one: Iran: West’s carrot and stick method failed Here, the West is seen as making the following equations: Iran is equated to a donkey, being stubborn and unwilling to change its position. Trade incentives are equated to the carrot, aimed at luring Iran from its current position. U.N. sanctions are equated to the stick, used to force a change in Iran's position. The West is equated to the farmer, and is assumed by this model to own or control Iran. Extending this further, the West may accuse Iran of "digging in its heels" as a way of protecting its position. For example, since the stick equals sanctions of some kind, say, cutting grain shipments to Iran, Iran may "dig in its heels" by stockpiling current grain supplies in preparation. The donkey of this metaphor system has as many parts as we choose to give it. The way to spot those times when an idiom behaves as a metaphor is to look for signs of an equation being made, then check to see if the equation can be extended, as you see in the above example. There may even be times when you discover that it never really was an idiom after all. It's only natural - cases of mistaken identity are very common among idiom, metaphor and simile. II.2.3.3. Analyzing a metaphor According to Larson recommends that a metaphor : live or dead metaphors could be analyzed into two propositions of four parts, namely : topic, image, point of similarity and non figurative equivalent Topic is what mentioned in the first proposition, usually non figurative Image is the figurative topic of the second proposition, what is compared with the topic of the first proposition Point of similarity is found in the common of both proposition Non figurative equivalent is optional as it could be identified in case the propositions are event proposition : Larson (1984,p.194) states that if the proposition has an event: an action, an experience, or a process ) as the central concept, it is an event proposition, for example: The boy ran (action) John saw the cow ( experience) The ice melted (process) Example 1: She is as beautiful as an angel Two propositions: 1.She is beautiful 2. The angel is beautiful Topic: she Image: the angel Point of similarity: beautiful Example 2: The righteous will give you the crown of life Two propositions : 1. (The officials) give (the victorious athlete) a crown 2. (God), who judges righteously, will give you (eternal life) Topic: God, who judges righteously Image: officials Point of similarity: receive a reward for doing well Non-figurative meaning: will give you eternal life From Larson’point of view, understanding correctly a metaphor depends on the correct identification of topic, image, point of similarity, and nonfigurative equivalent. Sense Image Object Newmark (1995, p.104-105) introduces another way to analyze a metaphor. He states the notions of object (what is described by the metaphoric expression), image (the picture conjured up by the metaphor and sense the literal meaning of the metaphor) Though different in nomination and categories, Larson and Newmark have shown us very clear ways to find out the implicit meaning of a metaphor. That of Newmark is supposed to be more practical and easier for students of English to apply. A conclusion could be drawn is that the sense of any metaphor see itself on the similarity between two different thing, literal or word-for-word translation may easily lead to complete misunderstanding and illogic interpretation in the target language. The following part discusses the problems of metaphor translation in details II.2.3.4. Problems in understanding and translating metaphors Understanding dead metaphors is not quite problematic as their meaning could be found in dictionaries. Once the correct meaning is identified, translation is not quite challenging task if the translator bases himself on the context given. For example: [...] “you’ll keep a civil tongue in your head when you’re talking to Marge” (Rowling,1999,9.19) To keep a civil tongue in one’s head : speak politely [...] “mµy liÖu hån ¨n nãi cho tö tÕ khi nãi chuyÖn víi c« Marge, nghe ch­a! (translated by Ly Lan, 2002, p.28) “God, this place is going to the dogs” ( Rowling, 1999, p.113) To go to the dogs : to get into a very bad state “Chóa ¬i, n¬i nµy ®iªu tµn hÕt chç nãi!” ( translated by Ly Lan,2002,p.161) In terms of live metaphors, not all cases are difficult to understand as the metaphoric sense and image of the source language are equivalently used in the target language. For example: “... but your sister was a bad egg” ( Rowling, 1999, p.28) Object : your sister Image ; a bad egg Sense : a person that no one can stand “ ...nh­ng em g¸i cña chÞ lµ mét c¸i trøng ung” ( translated by Ly Lan,2002,p.41) However, from Larson’s point of view, translating other cases of metaphors is not a piece of cake due to several reasons. First, the image used in the metaphor may be unfamiliar with speakers of the target language. For example: “His eyes were of the blue of the forget-me-not...” Barrie, 1993, p.57) The forget-me-not, a small wild plant with light blue flowers, does not grow in tropical regions; thus, the image of this flower is strange to Vietnamese readers Second, the topic of the metaphor (the object) or the point f similarity (sense) may be implicit and hard to identify, or it could even be understood differently from culture to culture, leading to inaccurate interpreting and translation. For example, the sentence “He’s a potato” may imply “He’s lazy and inactive” in English, while in Vietnamese, it could be interpreted as “He’s a kind man” II.3. Translating metaphors Acknowledging the problem above, Larson’s (1984) claims that translators should first define whether the metaphor is live or dead ( by looking it up in dictionaries or reference documents ) With respect to dead metaphors, it could be translated directly, communicatively into the target language For example: “ I hope we’ll understand each other perfectly because we’re in the same boat” T«i hi väng chóng ta sÏ hiÓu nhau hoµn toµn bëi v× chóng ta cã cïng c¶nh ngé. (Tr­¬ng Quang Phó,2002,p.32) Granting most-favoured nation status to Vietnam is sure to be controversial. And given the Clinton Administration’s foreign policy woes, this issue is likely to be stuck on the back burner. Cho Viet Nam ®­îc h­ëng quy chÕ tèi huÖ quèc ch¾c ch¾n lµ ®iÒu g©y tranh luËn. Vµ nÕu xÐt nh÷ng chuyÖn r¾c rèi mµ chÝnh s¸ch ngo¹i giao cña chÝnh quyÒn Clinton gÆp ph¶I th× vÊn ®Ò nµy ch¾c ch¾n sÏ bÞ t¹m g¸c sang mét bªn trong mét thêi gian n÷a.( Newsweek) “Bob, do you have your head in the clouds ?” the teacher said ThÇy gi¸o hái: “ Bob, ®Çu ãc anh ®ang ë ®©u, trªn m©y ch¾c?” ( Tr­¬ng Quang Phó, 2002, p.33) “ He’s been through the mill, this one” ( Rowling,19999, p.59) “ Chµ, con vËt nµy ®· tõng kinh qua gian khæ vµ thö th¸ch gay go ®©y !” (translated by Ly Lan,2002,p.85) Regarding live metaphors, Larson comes to five ways to translate them. The metaphor may be kept if it sounds natural and is correctly understood by readers of the target language For example: Technology is the key of our success C«ng nghÖ lµ ch×a khãa cña thµnh c«ng To die will be an awfully big adventure!” C¸i chÕt lµ mét cuéc phiªu l­u lín All wanted blood [...] TÊt c¶ ®Òu kh¸t m¸u [...] A metaphor may be translated as a simile For example: My daughter is a white dove Con g¸i t«i xinh x¾n nh­ chim bå c©u tr¾ng “ He [...] felt a bucketful of ice cascade into his stomach” “Nã bçng cã c¶m gi¸c nh­ võa bÞ mét x« n­íc ®¸ xèi th¼ng xuèng gan ruét” (translated by Ly Lan, 2002, p.16) An equivalent metaphor of the target language may be substituted. For example: “[...] they were cooking up their own version of how Malfoy had been injured” ( Rowling,1999,p.119) “[...] mÊy ®øa ®ã ®ang thªm m¾m thªm muèi cho c©u chuyÖn Malfoy bÞ th­¬ng thµnh trÇm träng” (translated by Ly Lan, 2002, p.168) The metaphor may be kept and the meaning explained For example: If God closed all the doors, somewhere he opens a window If God closes all the doors, somewhere he opens a window There is always at least a way to escape from difficulties NÕu Chóa ®ãng hÕt c¸c cöa lín l¹i, h¼n lµ ®©u ®ã Ngµi ®· më ra mét khung cöa sæ. Lu«n lu«n cã mét lèi thãat, mét c¸ch thãat khái khã kh¨n. The meaning of the metaphor may be translated without keeping the metaphorical imagery. For example: It is reasonably optimistic that the global economic is finally diggng itself out of a very deep hole. Hßan tßan cã c¬ së ®Ó l¹c quan r»ng cuèi cïng nÒn kinh tÕ thÕ giíi ®ang dÇn thãat khái t×nh tr¹ng khã kh¨n. The examples prove that Larson’s ways of translating metaphors are highly practical and useful, particularly for students of translation. These five ways could be summarized as followed : Reserving metaphors Translating as similes Using target language equivalent metaphors Reserving metaphors and giving explanations Removing metaphorical imagery In addition to theoretical issues, such factors as the author’s writing style, the translator’s talent, and the readership contribute to the success of a translation. The next chapters further discuss how theories are illustrated in metaphoric translation by a professional translator and students of English department. Chapter III: Translation of metaphors by the professional translator This chapter is devoted to the analysis of the translaion of metaphors in the two books Harry Potter and the Prisoner of Azkaban and Harry Potter and the Deathly Hallows (by J.K. Rowling). III.1. Reasons for choosing Harry Potter and the Prisoner of Azkaban and Harry Potter and the Deathly Hallows Metaphors are widely used in all subjects of writing. Referring to children’s literature, Harry Potter and the Prisoner of Azkaban and Harry Potter and the Deathly Hallows are particularly appropriate for a research on live metaphors due to several reasons First, they are two of Harry’s Potter‘s books- of children’s favorites of all time with millions of copies have been sold over the world. In other words, millions of children of different generations have enjoyed reading the wonderful language and meaningful lessons of these books Second, they are works of a genius writer, whose talent and imagination, even life philosophy, through the books, have fascinated readers of many different cultures and greatly influenced their thinking and attitude towards life. Live metaphors in the word of Harry Potter are used not only frequently but also imaginatively, which contributes to successfully creating a new lively in readers’ mind. The third and also the last reason is that the Vietnamese translator, Lý Lan, professional, have gained certain success, reputation and prestige among Vietnamese translators. Apart from being a translator, Lý Lan is a teacher of English, a talented poet, journalist, who has been granted a M.A. degree in Literature in the U