INTRODUCTION
Scope of the study
The beautiful romantic novel Beloved Oxford consists of sixteen chapters
This thesis concentrates on the first three chapters of the novel: "The Surprising School Admission," "The Challenger," and "The Lonely Winter." These chapters are pivotal as they establish the novel's setting and provide insight into the main characters' backgrounds and personalities Additionally, they highlight the distinctive strengths and weaknesses of the translation, enriching the reader's understanding of the text.
Aims of the study
The study is carried out to investigate the quality of the English version of the novel Beloved Oxford based on Newmark‟s theory of translation criticism.
Research methodology
In order to serve the aim of the study, two research questions are raised:
1 What are the strengths of the English version of Beloved Oxford in terms of linguistic aspect and translational aspect?
2 What are the weaknesses of the English version of Beloved Oxford in terms of linguistic aspect and translational aspect?
To achieve the goal of the study, contrastive analysis is employed The researcher conducts the study in the following steps:
Building up a theoretical background for the study
Choosing an approach for TQA, that is Newmark‟s
Analyzing and comparing source text and target text to find out the strengths and weaknesses of the translation in term of linguistic aspect and translational aspect
Organization of the study
Part I is the Introduction which provides readers an overview of the thesis including the rationale for the study, the aims, the scope, the methodology and the organization of the study
Part II is the Development, which includes two chapters
Chapter 1 introduces the theoretical background knowledge related to literary translation and TQA
Chapter 2 is the main part of the study It provides comparison and analysis between original texts and translation texts, and discussion about the strengths and weaknesses of the translation
Part III is the Conclusion which summarizes the main ideas and findings of the study, draws some implications for Vietnamese - English literary translations, points out limitations of the study and makes suggestions for further research
PART II: DEVELOPMENT CHAPTER 1: LITERATURE REVIEW 1.1 Literary translation
Translation is vital for fostering awareness and understanding among various cultures and nations, with literary translations playing a key role in bridging these differences According to Toury (1995, cited in Elkjør, 2010), literary translation involves converting a text recognized as literary in its source culture to meet the standards of literary works in the target culture For a translation to qualify as literary, it must be accepted as literature within the target culture, adhering to its specific literary requirements.
Schulte (2010) emphasizes that literary translation serves as a vital link between cultures and languages, enhancing our understanding of humanity across borders This process allows the essence of a different culture to shine through, as translators skillfully convey the nuanced emotions and sensibilities of foreign societies using the unique linguistic and artistic elements of the target language.
According to Reiss (1976/ 1989, cited in Huang, 2011) literary text - as an
The "expressive" text type is characterized by its written, fictional, and canonical nature, serving an aesthetic purpose It emphasizes the expression of emotions through poetic language, often incorporating implicit meanings and stylistic deviations.
In literary translation, translators must consider both the unique characteristics of the source text and the cultural and linguistic differences relevant to the target audience Huang (2011) highlights five key aspects of literary translation: firstly, the importance of preserving the rhetorical and aesthetic qualities inherent in literary works; secondly, the intrinsic connection between form and content in literary texts, unlike in non-literary translations where they can be separated; thirdly, the translator's word choices are heavily influenced by the target language and culture; fourthly, understanding the target audience is crucial; and finally, literary translation is a complex process that lacks a single correct version, emphasizing the existence of appropriate translations based on specific criteria or perspectives.
Similarly, Belhaag (1997, cited in Hassan, 2011) summarizes the characteristics of literary translations:
- focusing on both form and content
- using special devices to “heighten” communicative effect
- tendency to deviate from the language norms
1.1.3 Methods used in literary translation
Nida (1964) identifies two main types of translation: formal equivalence, which aims to maintain the original message's form and content, and dynamic equivalence, which emphasizes producing a similar effect in the target language text.
Larson (1984) categorizes translation methods by their focus on form and meaning, identifying two primary trends: form-based and meaning-based translations Form-based translations, often referred to as literal translations, strive to maintain the original structure of the source language (SL) In contrast, meaning-based or idiomatic translations prioritize conveying the SL's meaning using natural expressions in the target language The translation spectrum ranges from very literal to idiomatic, with variations such as modified literal and near idiomatic, and can extend to overly free translations.
Newmark (1988) categorizes translation methods into two primary types: semantic translation and communicative translation, presenting them in a flattened V diagram format.
Nida's formal equivalence, Larson's literal translation, and Newmark's semantic translation prioritize the text's form but overlook the context In contrast, Nida's dynamic equivalence, Larson's idiomatic translation, and Newmark's communicative translation aim to effectively convey the original message to the target audience, ensuring a dynamic equivalence with the source text Thus, it is essential for translators to consider these methods when translating literary works.
The first problem is that of equivalence Jakobson (1966, cited in Boushaba,
In translation theory, equivalence cannot be equated with sameness or synonymy, as no translation can fully replicate the original text; it is merely “a creative transposition.” Languages are intricate systems influenced by both structural and extralinguistic factors, such as social and cultural contexts, leading to the conclusion that achieving perfect equivalence is unattainable Instead, equivalence should be understood as an approximate rendering from the source language (SL) to the target language (TL), focusing on the relationship between the source text (ST) and the target text (TT) Translators must strive for equivalents that evoke similar effects in the target audience as intended by the original author, viewing the text as part of an ongoing negotiation to maintain the original's values, dynamic elements, and aesthetic quality Ultimately, it is accepted that messages, rather than meanings, are translated, necessitating a holistic consideration of the text.
Literary translation faces significant challenges due to cultural differences, which can be more complex than linguistic variations (Nida, 1964) It is crucial for translators to consider both linguistic and cultural nuances when translating, as the impact of cultural context on the target audience can greatly influence comprehension Language and culture are interdependent, and without a cultural overlap between the source language (SL) and target language (TL), translating cultural terms can lead to misunderstandings A translator must not only be familiar with the vocabulary of the TL but also ensure that the intended meaning resonates with the target reader as it did with the original audience Consequently, cultural gaps can pose substantial translation difficulties, particularly in texts with a strong cultural emphasis.
Translating literary texts presents unique challenges due to their inherent ambiguity and multiple meanings, which can vary based on the reader's context and interpretation Understanding an author's true intent is often elusive, making it essential for translators to thoroughly read and comprehend the entire work before beginning the translation process This deep engagement requires significant time, dedication, and multiple revisions to ensure that the translated text accurately reflects the author's original thoughts Consequently, literary translation demands the expertise of a skilled translator, as machine translation is inadequate for capturing the nuanced layers of meaning present in literary works.
1.2 Translation quality assessment 1.2.1 Definition of translation quality assessment
There is no exact definition of TQA In his book A Textbook of Translation
In 1988, Newmark introduced the concept of translation criticism, emphasizing its crucial role as a bridge between translation theory and practice Translation Quality Assessment (TQA) involves a comprehensive evaluation process that includes assessing the usefulness and authenticity of sources, analyzing the authors and their translators for their aesthetic influences, and critically examining both the source texts (STs) and target texts (TTs).
TQA, or Textual Quality Assessment, can be categorized as either quantitative or qualitative, relying on mathematical or statistical measurements typical of academic instruments, or on subjective data gathered from readers' responses, interviews, and questionnaires Additionally, TQA serves a diagnostic purpose, providing insights into the quality and effectiveness of textual content.
(determining areas for improvement at the beginning of a course of study), formative (measuring progress and giving feedback during a course of study) or summative (measuring the results of learning)
1.2.2 Role of translation quality assessment
LITERATURE REVIEW
Literary translation
Translation is crucial for fostering awareness and understanding among diverse cultures, with literary translations serving as a bridge for cultural compromise As noted by Toury (1995, cited in Elkjør, 2010), literary translation involves converting a text recognized as literary in the source culture while adhering to the literary standards of the target culture For a translation to qualify as literary, it must be recognized as literature within the target context, fulfilling the specific requirements of that culture's literary framework.
Schulte (2010) asserts that literary translation serves as a vital link between cultures and languages, enhancing our understanding of humanity across borders Through this process, the essence of a culture is revealed, allowing translators to express the nuanced sensibilities of foreign nations using the diverse linguistic and artistic elements of the target language.
According to Reiss (1976/ 1989, cited in Huang, 2011) literary text - as an
The "expressive" text type is characterized by its written, fictional, and canonical nature, emphasizing aesthetic function and emotional expression It employs poetic language, conveys implicit meanings, and often includes deviations from conventional forms.
In literary translation, translators must consider both the unique features of the source text and the cultural and linguistic elements of the target audience Huang (2011) identifies five key aspects of literary translation: first, it emphasizes the rhetorical and aesthetic value of the text, which must be preserved Second, the relationship between form and content is crucial, unlike in non-literary translation where they can be separated Third, the translator's word choices are influenced by the target language and culture Additionally, understanding the target audience is vital for effective translation Finally, literary translation is a complex process with no single correct version; rather, it allows for appropriate translations based on specific criteria and perspectives.
Similarly, Belhaag (1997, cited in Hassan, 2011) summarizes the characteristics of literary translations:
- focusing on both form and content
- using special devices to “heighten” communicative effect
- tendency to deviate from the language norms
1.1.3 Methods used in literary translation
Nida (1964) identifies two main types of translation: formal equivalence, which aims to maintain the original message's form and content, and dynamic equivalence, which seeks to produce a similar effect in the target language text.
Larson (1984) categorizes translation methods by their focus on form and meaning, distinguishing between two main trends: form-based and meaning-based translations Form-based translations, known as literal translations, strive to replicate the structure of the source language (SL), while meaning-based translations, or idiomatic translations, prioritize conveying the SL's meaning in a natural way for the receptor language Translation exists on a continuum that ranges from very literal to idiomatic, with variations including modified literal and near idiomatic, potentially extending to overly free translations.
Newmark (1988) introduces eight translation methods categorized into semantic and communicative translation, represented in a flattened V diagram.
Nida’s formal equivalence, Larson’s literal translation, and Newmark’s semantic translation prioritize the text's form but overlook its context In contrast, Nida’s dynamic equivalence, Larson’s idiomatic translation, and Newmark’s communicative translation aim to effectively convey the original message to the target audience, ensuring dynamic equivalence with the source text Consequently, it is essential for translators to consider these methods when translating literary works.
The first problem is that of equivalence Jakobson (1966, cited in Boushaba,
In translation theory, equivalence is not defined by sameness or synonymy, as no translation can fully replicate the original text; instead, it is seen as a "creative transposition." Languages are complex systems influenced by structural and extralinguistic factors, such as social and cultural contexts, making true equivalence unattainable Thus, equivalence should be understood as an approximate rendering from the source language (SL) to the target language (TL), where the relationship between the source text (ST) and the target text (TT) determines the translation's validity Translators must seek equivalents that evoke similar effects in the target audience as intended by the original author, viewing the text through the lens of literary translation as an ongoing negotiation to maintain the original's values, dynamism, and aesthetic quality Ultimately, it is accepted that messages, rather than meanings, are translated, necessitating a holistic consideration of the text.
Literary translation presents significant challenges due to the cultural differences between the source language (SL) and the target language (TL) Nida (1964) emphasizes that cultural disparities can complicate the translation process even more than linguistic variations Therefore, translators must consider both the lexical impact and the cultural perceptions of the target audience Language and culture are interdependent, making it essential for translators to understand cultural nuances to convey the original meaning effectively Often, translating cultural terms poses difficulties unless there is a cultural overlap between the SL and TL A translator's role extends beyond knowing the TL vocabulary; they must ensure that the target reader grasps the intended meaning as the original audience would Cultural focus in a text can lead to translation issues stemming from the cultural gap between the SL and TL.
Translating literary texts presents unique challenges due to their inherent ambiguity and multiple interpretations, which can vary based on a reader's context and perspective Understanding an author's true intentions is often elusive, making it difficult for translators to grasp the full depth of a text's meaning To effectively translate a literary work, a translator must thoroughly read and comprehend the entire piece, dedicating time to understand its layers before beginning the translation process This meticulous approach requires extensive revisions, as each reading reveals new insights that necessitate further editing to align the translation with the author's original thoughts Consequently, literary translation cannot rely on machine translation; it demands the expertise and sensitivity of a skilled translator who can capture the essence of the work.
Translation quality assessment
There is no exact definition of TQA In his book A Textbook of Translation
In 1988, Newmark introduced the concept of translation criticism, emphasizing its vital role as a bridge between translation theory and practice Translation Quality Assessment (TQA) involves a comprehensive evaluation process that includes assessing the usefulness and authenticity of sources, analyzing the authors and their translators—considering their aesthetic influences and how these shape their work—along with evaluating the source texts (STs) and target texts (TTs).
TQA can be both quantitative and qualitative, utilizing mathematical or statistical measurements commonly found in academic instruments, as well as relying on reader responses, interviews, and questionnaires Additionally, TQA serves a diagnostic purpose.
(determining areas for improvement at the beginning of a course of study), formative (measuring progress and giving feedback during a course of study) or summative (measuring the results of learning)
1.2.2 Role of translation quality assessment
Translation criticism, or Translation Quality Assessment (TQA), is deemed essential by Newmark (1988) for courses in comparative literature and professional translation TQA plays a crucial role for three main reasons: it enhances translators' skills and experience, broadens their understanding of both their native and foreign languages, and provides an opportunity to review and deepen their grasp of translation theories.
1.2.3 Models for translation quality assessment
The answer to the question whether one translation is considered “good” or
The concept of "bad" in translation quality assessment remains a topic of debate, as criteria vary based on the assessment's purpose and the theoretical framework used In her book, "A Model for Translation Quality Assessment," House (1986) categorizes translation quality assessment studies into four main types: pre-linguistic studies, response-based psycholinguistic studies, source text-based studies, and pragmatic theories of language use.
The first group of professionals, including translators, poets, writers, philologists, and philosophers, prioritizes fidelity to the source text (ST) and the preservation of the source language's (SL) spirit However, this approach can be seen as impractical and overly selective, as it focuses narrowly on the translator's individual comprehension and interpretation By concentrating solely on their personal understanding, translators may overlook the original text, the translation process itself, and the expectations of the target audience, which are all crucial elements that deserve greater attention.
Supporters of the second group define a successful translation as one that fulfills the purpose of the source text (ST) in the target language (TL) A key figure in this perspective is Nida, who introduced the principle of Dynamic Equivalence, suggesting that the response of target text (TT) audiences should mirror that of the original ST audience However, a critical question arises regarding the testability of this criterion, leading to the notion that establishing such a requirement may be unproductive.
The appeal to equivalence of response in translation lacks value compared to the criterion of "capturing the spirit of the original" (House, 1986) This approach is criticized for overlooking the fundamental purpose of translation, which is to convey the meaning of an original text in different words Similar to the first group, this perspective fails to acknowledge the essential relationship between the original and translated texts, neglecting the distinction between a genuine translation and other secondary adaptations or versions.
Researchers in the third group emphasize the significance of the source text (ST) as the foundational element for assessing translation quality They focus on the ST's linguistic and textual structure, along with its meaning potential across different levels, including situational context, within a systematic framework This approach positions the ST as a crucial determinant in the translation process.
Reiss (1971, as cited in House, 1986) emphasizes that the text type of the source text is crucial in translation, influencing all subsequent translator decisions To address the limitations of earlier translation quality assessment (TQA) studies, a comprehensive model incorporating criteria for both the source text (ST) and target text (TT) evaluation should be developed While the proposed models show promise, they currently lack practical application strategies.
House's (1986) model of Translation Quality Assessment (TQA) is a functional-pragmatic framework designed to address the limitations of earlier models It integrates semantic, pragmatic, and textual aspects to evaluate translation quality through three key steps: first, analyzing the source text (ST) to create a textual profile based on language user dimensions like geographical origin and social class; second, assessing the translation text using the same criteria to establish its textual profile; and third, comparing the two profiles to determine the translation's adequacy Despite its comprehensive approach, the model's requirement for a high level of linguistic knowledge and professional skills among translation critics limits its widespread application.
In his 1988 book, Newmark introduces a translation assessment method known as comprehensive criticism, which involves five key steps: first, analyzing the source language (SL) text to highlight its intention and functional aspects; second, understanding the translator's interpretation of the SL text's purpose, their translation method, and the intended readership; third, conducting a selective yet representative comparison between the translation and the original; fourth, evaluating the translation from both the translator's and the critic's perspectives; and finally, assessing the translation's potential impact within the target language (TL) culture or discipline While Newmark's method has certain theoretical weaknesses compared to House's model, it remains applicable in a broader context.
The first two approaches to translation have notable limitations, while the third is plausible but lacks concrete criteria House’s model offers specific criteria through eight situational dimensions; however, it demands a strong understanding of linguistic knowledge and translation theories from reviewers In contrast, Newmark’s method integrates various models, including those of Nida, Wilss, Reiss, and House Despite some theoretical weaknesses, Newmark’s 5-step model is advantageous due to its ease of implementation and its emphasis on translation as a communicative process rather than merely focusing on text form.
This study employs Newmark's method for two main reasons Firstly, its straightforward application is facilitated by five clearly defined steps, grounded in real-world translation experiences that address common challenges in the translation process Secondly, this method aligns well with the study's objective of evaluating the quality of the translated version, focusing on the strengths and weaknesses from both linguistic and translational perspectives The researcher approaches the assessment as a practitioner, emphasizing practical translation issues over theoretical critiques.
The researcher utilizes only the initial three steps of Newmark's method, without fully implementing all five Her focus is not on evaluating the quality or future prospects of the translation, but rather on highlighting its strengths and weaknesses through contrastive analysis.
CHAPTER 2: TRANSLATION QUALITY ASSESSMENT OF THE
TRANSLATED VERSION OF BELOVED OXFORD 2.1 Source text and the author
Beloved Oxford is a best-seller romance novel written by author Duong
Originally published by Youth Publishing House in 2007, "Thuy" has captivated both young Vietnamese readers and their parents More than just a love story, this motivational novel inspires Vietnamese youth to pursue their dreams amid a rapidly evolving economy The narrative follows Thien Kim, a young Vietnamese girl who travels to England to study at Oxford University, where she not only realizes her ambitions but also finds love with a Portuguese teaching assistant named Fernando.
In the first three chapters namely The Surprising School Admission, The Challenger, The Lonely Winter respectively, the author describes the new life of
CONCLUSION
Recapitulation
Literary translation is often regarded as one of the most challenging yet fascinating fields within translation It plays a crucial role in introducing foreign literary works to Vietnamese readers and vice versa Despite its significance, the quality of literary translation often receives insufficient attention This thesis aims to thoroughly examine the quality of Vietnamese-English literary translations, highlighting both the strengths and weaknesses of the translated works.
This study provides an overview of essential concepts in literary translation and Translation Quality Assessment (TQA) It then analyzes and compares the source text (ST) and the target text (TT) to highlight the strengths and weaknesses of the translated version The findings enable the researcher to discuss the challenges faced in Vietnamese-English literary translation.
Implications
The study highlights significant challenges in Vietnamese-English literary translation, primarily stemming from the ambiguity present in the source text (ST) This ambiguity complicates the translator's ability to fully understand the author's intended meaning and messages For instance, the novel features vague and obscure sentences, such as “Gió thổi những cơn gió rét quất vào mặt Kim thật thô bạo” and “Ai cũng 'thủ', tự tôn, tự ti rộn cả lên,” which further exacerbate the translation difficulties.
The author’s excessive use of quotation marks creates confusion for the translator, particularly with phrases like “bệnh hoạn,” “nâng cao đùi,” and “chết người,” making it difficult to determine their intended meanings Additionally, the translator's limited proficiency in Vietnamese linguistics and culture hinders his understanding of the author's nuanced messages Relying heavily on a dictionary and employing a word-for-word translation approach leads to a mismatch between the translated text and the original, as words are often translated out of context and based solely on their most common meanings.
Limitations and suggestion for further research
The research is constrained by the author's limited time and knowledge in linguistics and translation studies, which may lead to unavoidable mistakes during analysis Additionally, the thesis does not address several important topics, such as solutions for Vietnamese-English literary translation Furthermore, the study focuses on only three out of sixteen chapters, potentially limiting the generalizability of the findings to other chapters.
Other researchers can carry out studies on the following issues:
- The quality assessment of Vietnamese-English literary translations in general
- The challenges and solutions for Vietnamese-English literary translations
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APPENDICES APPENDIX 1: Inappropriateness in equivalence at word level
No Source text Translation Suggestion
1 lịch học (p.5) study calendar (p.8) schedule
2 tiền photo (p.6) the book of photographs (p.8) photocopies cost
3 Tụi Ý ăn mặc diêm dúa (p.12)
There were smartly dressed Italians (p.14)
There were fussily dressed Italians
4 cô chột dạ nhớ lại
(p.16) she suddenly remembered (p.18) she was startled to remember
5 ngáo ộp như một chàng
Ivan nông dân (p.19) stupid ones like farmer
Ivan (p.22) ugly ones like farmer
6 Có người vô tư hô khẩu hiệu (p.20)
There were unbiased people that cried out the slogan (p.22)
There were people ignorantly crying out the slogan
7 Fernando là một thanh niên “được” lắm đó
Fernando is a very young man (p.25)
Fernando is a very good/ cool man
8 Kim còn nghe rõ ràng cái giọng cao vút điêu ngoa của Thúy Hà
Kim could clearly hear Thuy Ha‟s loud voice swishing falsely (p.29) slanderous
9 Những lúc phải “ngậm bồ hòn làm ngọt” cho cho Fernando “lên allow Fernando to raise his level of teaching
(p.36) allow Fernando to preach lớp” (p.36)
10 giọng “đĩ thõa” (p.37) virtuous voice (p.41) promiscuous
11 Do tối thường trằn trọc nhớ nhà [ ] cô không ngủ thẳng giấc (p.38)
At night she often tossed about sleeplessly, remembering her home (p.36) missing
12 ông già tuyết (p.44) the old man in the snow (p.49) a snowman
13 Thúy Hà đã chính thức cặp bồ với Jean Louis
Thuy Ha primarily stayed up together with a friend, Jean Louis had an affair with Jean
14 dầu gió (p.49) wind oil (p.55) medicated oil
“người đỡ đầu” của Kim (p.52)
At the infirmary, Fernando declared that he was Kim‟s tutor
APPENDIX 2: Inappropriateness in equivalence above word
No Source text Translation Suggestion
1 cuốn giáo trình đã được photo sẵn (p.5) the thick textbook of photographs (p.8) the thick photocopied textbook
2 ông ta phán cho một câu xanh rờn (p.7) he said something terrible that frightened her a lot (p.9) he simply said something shocking to Kim
3 Kim ngơ ngẩn không buồn trả lời (p.7)
Kim did not reply with some silly morose answer (p.10)
Kim was so lost in her thought that she did not reply
4 nơi được biết bao người trẻ ao ước (p.12) an area where there were many eager young people (p.13) an area which many young people dreamt of
A few English students were yawning noisily, resembling the roar of a helicopter, as if they were about to take off vertically.
6 có vài người đứng chờ, miệng nhai nhóp nhép chút gì đó (p.13) there were only a few people waiting, chewing their mouths making a bit of a munching noise (p.15) chewing something
7 Cô cười, làm bộ trêu nhưng thực lòng thấy she smiled, teasing him, but frankly she
She smiled, pretended to tease him but she tự hào được anh chia sẻ (p.15) saw his pride and shared (p.17) actually felt proud to be shared by him
8 Học ở Oxford dù có cố gắng “lấy cần cù bù thông minh” [ ], Kim cũng chỉ là người đến từ một nước có nền giáo dục không được phát triển (p.15)
Studying in Oxford we must try to obtain hard earned compensation intelligently [ ] Kim
[ ] was also the only student that came from a country that had an undeveloped educational system
Hard work can make up a lack of intelligence
9 Giờ đây sang Oxford, thấy khoảng cách giữa
"Người ta" và "mình" có sự xa cách rõ rệt, giống như người Sài Gòn tự cho mình là văn minh khi nhìn vào một cô gái từ vùng núi rừng hoang sơ, đang khao khát hội nhập.
At Oxford, she recognized a significant divide between herself and others, reminiscent of her experiences in Saigon The more cultured individuals perceived her as an outsider, akin to a mountain barbarian, boldly seeking to integrate into their group.
Now at Oxford she realized that the distance between the others and herself was extremely great just as the civilized
Saigonese saw her as a mountain barbarian stepping out and demanding to join their team
10 Thời gian đầu có vẻ hút nhau (p.17)
They were attracted to each other the first time (p.19)
They were attracted to each other at first
11 Kim đã thử khuyên Lệc Chi nhưng cô bé khó
Kim tried to council Le Chi, but the young lady
In a world where everyone looks out for themselves, Kim chooses to adopt a "live and let live" attitude She faces challenges that compel her to embrace a more independent lifestyle, ultimately deciding to allow others to follow their own paths.
12 Chị nói tiếng Anh chưa rành nhưng hay ra vẻ ta đây (p.18)
She didn‟t speak English well, but she pretended she did (p.20)
She didn‟t speak English well, but she showed off as if she did
13 Kim thường nhìn cái cách “dốt mà làm như hay chữ” của Thúy Hà
Kim often looked at Thuy Ha as ignorant yet acting as though educated (p.20) acting as a snob
14 (c) Cái vẻ lẳng lơ lộ liễu như Thị Mầu của Thúy Hà (p.19)
This flirtatious manner of Thuy Ha ignoring the willow road like Thi Mau (p.21)
This shamelessly flirtatious manner like Thi Mau of Thuy Ha
Another person was like a frog sitting at the bottom of a well (p.22) a frog in a well
The most tragic aspect of self-destruction is that individuals often find themselves in a mental institution due to overwhelming heartbreak This heartbreaking reality highlights the pitiful nature of self-harm, as it leads to a profound sense of loss and despair.
17 Hay là càng tự ti nên mới càng tự tôn (p.20)
Was it an inferiority complex or a superiority complex?
Is it the lower self- esteem people suffer, the more over-
18 (c) Nắng vàng trong vắt nhẹ nhàng đậu trên vai Kim (p.21)
It was a golden clear sunny day, so Kim threw something light over her shoulders
The brilliant sunshine pleasantly stayed on her shoulders
19 [Fernando là một thanh niên] “được” lắm đó
[Fernando is a very] young man
[Fernando is a very] good man
20 Sao giáo sư lại nói một câu không ăn nhập gì hết (p.23) the professor could again say one relevant sentence at all (27)
How could the professor say such an irrelevant word?
21 rút khăn tay lau cho cô một cách chăm chú (p.24) pull out a handkerchief in a studious manner for her to wipe herself (p.27) pull out a handkerchief to wipe her up attentively
22 (d) Kim quê nhất là ánh mắt thoạt ngạc nhiên rồi nhanh chóng giễu cợt “Vậy mà cũng bày đặt làm như chính chuyên lắm!” của Thúy
Kim was unwittingly surprised when Thuy
Ha and Le Chi rapidly commented, “You pretend to be virtuous, but actually you are not.‟ (p.27)
What embarrassed Kim was a surprising- to-mocking look of Thuy Ha and Le Chi saying that “You are not virtuous at all!”
23 Fernando tỉnh rụi trước sự “vùng lên” của Kim (p.27)
Fernando said, recovering before Kim arose (p.30)
24 Fernando nhắc, mặt Fernando reminded Fernando reminded đểu hết chỗ nói (p.27) her, his caddish face finished saying (p.30) her with his caddish face
25 Kim [ ] biết mình có đấm anh cũng như lấy trứng chọi đá (p.27)
She knew that if she hit him, it would be just like throwing an egg into a rock (p.30) banging your head against the brick wall
“áp giải” kiều này mới vời được cô nàng ra khỏi giường lúc đang ngủ ngon nhất (p.28)
Fernando continued to teach in this new
„prisoner‟ mode, always making Kim get out of bed after she had first slept sufficiently (p.31)
Only by using this escorting method did Fernando make her get out of bed when she was sleeping the most soundly
27 Nước lạnh làm cô tỉnh rụi, thấy tội nghiệp
“người dưng” khi không phải cực khổ vì mình (p.29)
The water was very cold, which made her wake up She felt what a pity that the other persons who used it were not at all miserable because of her (p.32)
The cold water made her fully awake, feeling sorry for the
“stranger” who became miserable because of her
28 Còn lâu em mới có được vóc dáng “chết người” này (p.29)
„dead person‟ (p.33) this attractive figure
Fernando la lối, xỉ vả, đem nhan sắc cô ra đay
Not wanting to be yelled at and scolded by Fernando, she took
Not wanting to be yelled at, scolded and gumbled over her nghiến hoài (p.34) her complexion and went out gnashing continuously (p.37) beauty again and again by Fernando
30 tiếc đứt ruột (p.34) regrettably felt deeply hurt (p.38) felt deeply regrettable
31 Thật là khắc kỷ! (p.34) I certainly have to exert self-control! (p.38)
What a stoical person!/ Such a stoic!
32 Đã biết trí nhớ không tốt thì phải ghi lại chứ!
Tôi ở không đi theo em nhắc tò tò cho em hoài sao! (p.35)
I know your memory is not good, but you must take notes! I don‟t live just for you to constantly follow on my heels to be reminded! (p.39)
Knowing your memory is not good, you have to take notes! I don‟t live just to remind you all the time!
33 Những lúc phải “ngậm bồ hòn làm ngọt” cho
Several times she had to endure her friends making sweet talk in order to allow Fernando to raise his level of teaching
(p.39) to grin and bear it
34 Kim muốn trêu [ ] nhưng không muốn
“chọc vào ổ kiến lửa” nên nhịn cười (p.36)
Kim wanted to tease [ ] but she didn‟t want to „irritate him about this nest of fire ants‟, so she held back from laughing (p.40) open a can of worms
Biết rằng Fernando luôn vì mình, thế mà khá nhiều lần Kim không cưỡng lại được sự lười biếng cố hữu
Fernando, like himself, often forced her not to be chronically lazy rather many times
Fernando always did everything for her, she couldn‟t resist her chronic laziness, though
35 Anh không thèm theo dõi cô làm gì cũng biết cô có học hành đàng hoàng trong thư viện hay nằm nhà đánh một giấc đến trưa (p.38)
He did not desire to pursue what she had done, whether knowing that she had dignifiedly studied in the library or lay at home sleeping until noon (p.43)
He did not need to watch her out, but still knew whether she had studied seriously in the library or stayed home sleeping until noon
36 Cuối tuần Fernando đến, chỉ cần anh kiểm tra tiến độ bài tập, hỏi vài câu trong giáo trình là phát hiện dễ dàng Kim có “vấn đề”
At the end of the week, Fernando arrived to assess Kim's progress with her exercises He posed several questions from the textbook, but Kim encountered difficulties.
At the end of the week Fernando arrived Only by checking her exercises, asking several questions in the textbook could he easily recognize that Kim had cheated or not
37 Kim cũng từng được nhiều đối tượng đeo đuổi nhưng chưa có nhân vật nào quái chiêu như vậy (p.41)
Kim also greatly disliked being with someone with such a monstrous personality
Kim had attracted the attention of many suitors, but none were as peculiar as this man His eyes, resembling bullets, conveyed an intense and angry demeanor that set him apart from the rest.
38 Hai người này cho xem tấu hài hoài vậy không biết! (p.42)
I don‟t know those two persons always address each other like that when they meet! (p.47)
39 Yêu nhau lắm giết nhau thôi! (p.42)
They love each other so much that they kill each other, that‟s all!
40 Tưởng rằng đến nước này thì chẳng mặt mũi nào nhìn nhau (p.42)
Kim didn‟t think that everybody would be watching each other in such a bad situation (p.47)
Kim thought that they wouldn‟t see each other any more
41 Fernando còn đòi hộ tống Kim trực tiếp đến thư viện thay vì để cô tự đi như thường lệ
Fernando offered to escort Kim immediately to the library because that‟s where he himself usually went (p.47) instead of letting her go by herself as usual
He invited her to enter his car, which had its door widely open, creating an inviting atmosphere for her to join him.
43 A wise person […] hơn người dại ở chỗ biết tận dụng những cơ hội đến
A wise person […] better than the stupid person at this spot,
A wise individual understands the importance of seizing valuable opportunities rather than succumbing to the empty pursuit of vain self-esteem They recognize that it is more beneficial to focus on meaningful engagements and personal growth than to merely appease fleeting feelings of insecurity Embracing opportunities leads to greater fulfillment than indulging in the distractions of superficial pride.
44 cô nàng hận mình ngút trời mây (p.44) she hated him higher than the clouds in the sky (p.48) she hated his guts
45 Một con vật nhỏ nào đó chạy ngang hiên nhà để lại vết chân ngộ nghĩnh bị lún sâu hun hút
One small animal was running past the porch of the house leaving pretty deep footprints caved in until the trail was lost (p.49)
One small animal was running past the porch of the house leaving pretty deep footprints
46 Lũ trẻ con thấy tuyết rơi dày đến gần hai mươi centimét (p.44)
The little ones watched the snow fall until it was almost twenty centimeters deep (p.49)
The little ones realized that the snowfall was almost twenty centimeters deep
47 Lũ trẻ con [ ] rủ Kim cùng làm ông già tuyết
The little ones [ ] invited Kim to become the old man in the snow
(p.49) asked Kim to make a snowman with them
48 Mọi người hồ hởi nhìn thành quả cao gần hai
Everybody helped to build a snowman that
Everybody was eager to see the two-meter mét (p.44) grew to a height of two meters (p.49) snowman
49 Kim dù đã cố cẩn thận cũng trượt té vài lần làm lũ trẻ bật cười ra khói (p.45)
Kim, though she tried to be careful, nevertheless slipped and fell several times, which made the young ones burst out laughing and letting out steam
(p.50) burst out laughing and breath out smoke
50 Kim ngỡ ngàng nhận ra tàu đang đi qua những ngôi làng nằm dưới thung lũng (p.46)
Kim thought she could identify several villages lying down in the valley that the train was going by (p.51)
Kim surprisingly recognized that the train was passing by villages lying down in the valley
51 Sự trở về gấp gáp của Kim
The urgent return for Kim
They both spoke English in a remarkably similar manner, which may suggest a connection that transcends their current surroundings Their shared struggle with the language likely fostered an attraction, hinting at a deeper bond rooted in an unspoken understanding.
53 Fernando chẳng “xơ múi” được gì (p.48)
Fernando hadn‟t gained any advantage at all (p.54)
Fernando hadn‟t done it at all
54 Phải biết thân biết phận You must know your You must know chứ (p.49) weakness determines your destiny (p.55) yourself
Don't claim you're short on cash; your account is overflowing with funds The issue lies in your frugality.
Because you are stingy you have it! (p.55)
Don‟t say that you lack money! Your account is full to the brim of money It‟s because you‟re stingy!
56 Ai biết anh ở đâu mà gọi (p.49)
Who knows how to call you where you live?
Who knows where you are to call?
57 Điện thoại di động của tôi nhận được ở khắp châu Âu (p.50)
I can receive my mobile telephone number any place in Europe (p.56)
My mobile phone works all over Europe
58 Đồ tàn ác! (p.50) You are more cruel and heartless than anybody!
59 Không biết ai ác hơn ai (p.50)
I don‟t know anybody more cruel than anybody (p.56)
Who is rueler than who
60 nằm ngoẹo đầu lên ghế xe (p.51) laid her head flat on the car seat (p.57) bent her head on the car seat
61 Fernando phải vươn người qua cài dây an toàn cho Kim, miệng lảm nhảm “Sao số tôi
Fernando had to reach across to fasten Kim‟s seat belt, with her mouth driveling, and
Fernando had to reach across to fasten Kim‟s seat belt, saying something nonsense, xui quá không biết!” làm cô muốn bật dậy đập cho anh một phát
(p.51) said, “I don‟t know why I have such an unlucky fate!” making her want to rise up from her seat and give him a slap (p.57)
“How unlucky I am!” making her want to get up and give him a slap
62 Keo kiệt như em nên mới chịu đựng bệnh hoạn cả mười ngày nay, giờ em phải trả tiền khám chắc tiếc đứt ruột còn bệnh nặng thêm! (p.52)
Enduring a ten-day illness can be challenging, and the thought of paying for medical care can lead to feelings of regret and distress, potentially worsening your condition.
Your reluctance to spend money has led you to suffer through ten days of illness If you had to cover the hospital expenses, the financial burden would likely intensify your regret and worsen your condition.
63 Chính anh quàng vào người tôi mấy cái thứ bốc mùi này! (p.53)
You yourself put them on me with all of those different terrible smells rising! (p.59)
You yourself put these smelly things on me!
64 Em đừng mời tụi bạn trong khu học xá nghe (p.54)
You don‟t invite your friends in the dormitory, do you hear me? (p.60)
Don‟t invite your friends in the dormitory, do you?
65 Rồi kỳ nghỉ Giáng sinh năm sau tôi hứa sẽ ở bên em! (p.54)
Then next year during the Christmas holidays
I will tell my mother to make another one for you! (p.61)
I promise to stay with you