RATIONALE
Translation serves as a vital bridge connecting languages worldwide, fostering mutual understanding among speakers of different tongues As one of the oldest professions, it plays a crucial role across various sectors, including construction, health, finance, and tourism, where specialized documents are essential in both Vietnamese and foreign languages With the rise of international economic integration, the demand for translation services in business and cultural exchanges has become increasingly important, attracting many linguists and translators to the field Despite its significance, the true value of translation is often overlooked or underestimated.
Translation plays a crucial role in our lives by enabling communication and information sharing across different languages It serves as a vital bridge that connects people who speak different languages, fostering understanding and collaboration As one of the oldest professions, translation has significantly contributed to the expansion of human knowledge throughout history.
Translation plays a crucial role in making stories accessible to diverse audiences However, translating novels poses significant challenges, as it transcends mere language conversion This complex task demands exceptional accuracy and consistency in content, style, vocabulary, and expressions, along with a deep cultural understanding.
The Lord of the Rings (TLTR) is an outstanding novel by English writer J R
R Tolkien Three parts of TLTR were published between 1954 and 1955 The
Fellowship of the Ring (July 29, 1954) is the first; the second volume is The Two Towers (November 11, 1954) and the last one is The Return of the King (October
20, 1955) In Vietnam, Literature publisher associated with Nhã Nam Company to publish Chúa tể của những chiếc nhẫn in 2018 It consists of three volumes (Đoàn
"Hộ Nhẫn; Hai Tòa Tháp và Nhà Vua Trở Về," translated by Nguyễn Thị Thu Yến, Đặng Trần Việt, Tâm Thủy, and An Lý, represents the first translations of this work in Vietnam and has achieved significant success, making it a focal point for this research.
The plot of the novel series TLTR is about the war of the peoples of the
Middle-earth faces the formidable threat of a dark lord in "The Lord of the Rings," a tale rich with valuable lessons for all Grasping the deeper meanings within this epic series can be challenging, as it necessitates a comprehensive understanding of its intricate story dynamics.
J R R Tolkien's works, when translated into Vietnamese, inevitably experience phenomena of loss and gain This is particularly evident in the intricate lexical, semantic, and syntactic features present in the translation of stylistic devices.
Let us consider the following examples:
(1.1a) We didn‟t mean no harm, but they jump on us like cats on poor mice, they did, precious (Tolkien, 1954, p.801)
(1.1b) Bọn ta đâu có ý xấu, vậy mà họ nhảy lên bọn ta như mèo vồ chuột, họ làm vậy đấy, bảo bối à (Đặng Trần Việt, 2018, p.282)
The example demonstrates the use of simile, highlighting the adjective "poor" preceding the noun "mice" in English In contrast, the Vietnamese translation omits the adjective, presenting only the noun "mice." Despite this reduction, the original meaning remains clear, indicating that such omissions do not hinder reader comprehension.
In the TLTR novel series, the phenomenon of gain is prominently featured, highlighting the evolution of Gandalf's artistry over time His creations are described as dazzling rockets resembling a flock of radiant birds, accompanied by melodious songs The imagery of vibrant green trees with dark, smoky trunks evokes the essence of a springtime bloom, unfolding in an instant (Tolkien, 1954, p.35).
Ngón nghề của Gandalf ngày càng tinh tế theo thời gian, với những chùm hỏa tiễn lấp lánh như bầy chim ca hát Những cây xanh rờn, thân phủ khói đen, lá xòe ra như mùa xuân tràn đầy chỉ trong chốc lát.
It can be seen that simile is used in the above example The word “rockets” are translated “những chùm hỏa tiển” in the Vietnamese translational sentence
The word “chùm” is added before the noun “rockets”, which makes gain phenomenon in the Vietnamese translational version
I am passionate about literature and dedicated to researching translation, which has inspired me to undertake a project titled “An Investigation into Loss and Gain in the Vietnamese Translational Equivalents of Stylistic Devices Used in the Novel Series The Lord of the Rings by J R R Tolkien.” This research aims to enhance understanding of the translation process of stylistic devices from English to Vietnamese, offering valuable insights into the complexities of translation.
AIMS AND OBJECTIVES
Aims
This study aims to identify stylistic devices (SDs) present in the TLTR novel series and examine the loss and gain experienced in their Vietnamese translations Additionally, it seeks to enhance Vietnamese learners' understanding of the nuances involved in English-Vietnamese translation, particularly concerning literary texts.
Objectives
For the above aim to be achieved, the following objectives are set:
- To identify SDs in the novel series TLTR were transferred into Vietnamese
- To figure out types of loss and gain in the Vietnamese translational equivalents of SDs used in the novel series TLTR.
RESEARCH QUESTIONS
In order to achieve the aims and objectives of the study, the following questions are set:
1 What SDs are employed in the novel series TLTR?
2 How is loss demonstrated in the Vietnamese translational equivalents of the SDs in the novel series TLTR?
3 How is gain demonstrated in the Vietnamese translational equivalents of the SDs in the novel series TLTR?
SCOPE OF THE STUDY
This study explores the phenomena of loss and gain in the Vietnamese translations of the SDs from the TLTR novel series, translated by Nguyễn Thị Thu Yến & Đặng Trần Việt (Part I: The Fellowship of the Ring), Đặng Trần Việt (Part II: The Two Towers), and Tâm Thủy & An Lý (Part III: The Return of the King) As the first and only translations available in Vietnam, the thesis analyzes these aspects in terms of lexis, structure, and meaning.
SIGNIFICANCE OF THE STUDY
This article examines the phenomena of loss and gain in the Vietnamese translation of speech devices (SDs) in the novel series "The Lord of the Rings," specifically focusing on the work of translators Nguyễn Thị Thu Yến and Đặng Trần Việt in "Part I: The Fellowship of the Ring." The analysis highlights how these translators navigated the complexities of language to convey the original meaning while adapting to cultural nuances.
Hộ Nhẫn); Đặng Trần Việt (Part II The Two Towers - Hai Tòa Tháp) and Tâm Thủy
In "Part III: The Return of the King," the researcher aims to enhance the understanding of the phenomena of loss and gain in translation, shedding light on the complexities involved in conveying meaning across languages.
This study serves as a valuable resource for translators, highlighting the differences between the original English novel and its Vietnamese translation It specifically addresses the unavoidable challenges of loss and gain encountered when translating stylistic devices (SDs).
ORGANIZATION OF THE STUDY
This thesis is composed of five chapters as follows:
Chapter 1, “Introduction”, mentions the rationale, aims and objectives, and the significance of the study
Chapter 2, titled "Literature Review and Theoretical Background," explores previous research on Speech Discourse (SDs) and the concepts of loss and gain during the translation process of SDs It delves into theoretical aspects relevant to the study, including definitions of translation, the implications of loss and gain in translation, and an overview of the novel series TLTR.
Chapter 3, “Research Methodology”, states the methods and the procedures of the research This chapter also offers the description of samples and how the data are collected, described and analyzed
Chapter 4, titled "Findings and Discussion," serves as the central component of the study, focusing on the stylistic devices (SDs) employed in the TLTR novel series and examining the losses and gains that occur during the translation process into Vietnamese.
Chapter 5, titled "Conclusions and Implications," summarizes the study's development and reiterates key findings It highlights the implications for learning, teaching, and translating sustainable development (SD) concepts in both English and Vietnamese Additionally, the chapter addresses the study's limitations and offers recommendations for future research.
LITERATURE REVIEW
In this section, a review of literature on previous studies relating to SDs as well as translation will be covered
Numerous studies have explored the use of stylistic devices (SDs) in language, conducted by both English and Vietnamese researchers Prominent linguists, including Galperin (1977), Vendonk (2003), and Simpson (2004), have extensively researched the semantic, syntactic, and pragmatic characteristics of SDs, highlighting their positive effects on communication.
According to Galperin (1977: 29), a stylistic device (SD) is defined as a deliberate and purposeful literary application of language features, including expressive means, which elevates language forms to a generalized level, thus creating a generative model.
SDs, or stylistic devices, involve the intentional use of language within words, sentences, and texts to enhance the appeal and expressiveness of an image, emotion, or narrative in a given context By employing these techniques, writers can captivate readers and leave a lasting impression.
In Stylistics, Vendonk (2003) explored the study of language style in both literary and non-literary texts, emphasizing that understanding style is influenced by socialization The author highlighted the interplay between text and discourse, focusing on how meaning is produced and received through dynamic contextual interactions Additionally, Vendonk addressed the significance of perspective and the varied representations of reality, illustrating how stylistics can enhance literary criticism.
In Stylistics, Simpson (2004) emphasizes that the study of stylistics involves an exploration of language and its creative uses This exploration not only enhances our understanding of language but also deepens our comprehension of texts By engaging in stylistics, we gain valuable insights into the intricacies of language and its expressive potential.
In Vietnam, there have been a number of linguists studied and interested in
SDs such as Đinh Trọng Lạc (1998), Cù Đình Tú (2001) and Nguyễn Thái Hòa
(1997) In the books entitled “Dẫn luận phong cách học” by Nguyễn Thái Hòa
(1997) and “Phong cách học Tiếng Việt” by Đinh Trọng Lạc and Nguyễn Thái Hòa
In 1998, a comprehensive definition of stylistic devices (SD) in Vietnamese was established, with authors providing a variety of examples Đinh Trọng Lạc (1998) offered an in-depth analysis of different SDs, detailing their definitions, functions, and classifications Additionally, Cù Đình Tú (2001) expanded on the topic in his work "Phong cách học và đặc điểm tu từ Tiếng Việt," further enriching the understanding of stylistic devices in the Vietnamese language.
In the textbook "Giáo trình lí luận văn học," a team of Vietnamese linguists, including Trần Đình Sử, Phan Huy Dung, La Khắc Hòa, Phùng Ngọc Khiêm, and Lê Lưu Oanh (2007), provides a clear definition of stylistic devices (SDs) They emphasize that the artistic measure of literary writing involves the strategic use of language to create vivid artistic images and convey profound concepts of life.
Translation has significantly influenced the English language, emerging as a captivating field for linguists and translators, including notable figures like Bassnett (1980) and Hatim and Mason (1990) This topic has been the subject of extensive research over the years.
Translation is the process of decoding the source language (SL) and encoding it into the target language (TL) It involves both the transfer of text from one language to another and the resulting product of that transfer.
Hatim and Mason (1990) emphasize that translation serves as a valuable case study for exploring the significance of language in social contexts Their analysis highlights the interplay between translation and various factors, including context, structure, and pragmatics Through this exploration, the authors aim to equip learners and translators with essential knowledge to enhance their translation skills.
In Translation Studies, Bassnett (1988: 30) emphasizes that when there is no exact equivalence between two languages during translation, it is unavoidable to experience both loss and gain in meaning.
In his book "Mất mát trong dịch thuật," Nguyễn Thượng Hùng (2006) discusses the inevitable challenges of translation, highlighting the absence of certain stylistic elements when comparing languages.
Recent studies have explored various translation issues, including Trần Thị Mai Lê's (2011) examination of meaning loss and gain in the Vietnamese translation of Thomas L Friedman's *The World is Flat* Nguyễn Thị Lành (2015) investigated stylistic devices in Larry Berman's *Perfect Spy*, focusing on similes and metaphors and their translation into Vietnamese Additionally, Hồ Thị Hoài Nhân (2014) analyzed the loss and gain phenomena in the English translations of Trịnh Công Sơn's songs, contributing to the understanding of translation challenges in this context Lê Thị Oanh (2015) further examined loss and gain in meaning, specifically regarding cognitive metaphors of "self" in the English translations of Trịnh Công Sơn's works These studies collectively highlight the complexities of translation and the nuances involved in conveying meaning across languages.
In conclusion, existing research in both English and Vietnamese has not addressed the loss and gain in the Vietnamese translation of speech devices (SDs) in Tolkien's TLTR novel series This thesis aims to contribute to the understanding of loss and gain in the translation of SDs, particularly in the context of English-Vietnamese translation.
THEORETICAL BACKGROUND
Definition of Stylistic Devices
Rhetorical devices, also known as figures of speech, enhance both spoken and written language by creating vivid images, emotions, and attitudes These special language combinations serve to enrich expressions and convey deeper meanings The significance of rhetorical devices has attracted the attention of linguists and researchers, leading to diverse interpretations and definitions within the field Understanding and employing these devices can greatly elevate the quality of communication.
Galperin (1977: 62) describes semantic differentiation (SD) as an abstract framework that can accommodate any content He emphasizes that the typical is not solely defined by frequency of use, but also by its ability to clearly and powerfully express the essence of a phenomenon.
Kramsch (1998: 22) asserts that the stylistic use of a language unit imbues it with what is termed a stylistic meaning Furthermore, a stylistic device (SD) manifests an established abstract scheme aimed at producing a specific artistic effect.
In Vietnam, in 99 phương tiện và biện pháp tu từ Tiếng Việt, Đinh Trọng Lạc
(1996) showed that the SDs are the languages in which they always carry some kind of additional information, either emotive or logical
SDs, or figures of speech, encompass various techniques used to enhance a text's meaning, emotion, or imagery These rhetorical devices aim to create vivid imagery, emphasize key points, and clarify ideas, ultimately engaging the reader more effectively.
The emergence of stylistic devices (SDs) is a natural progression in the evolution of language media As language units are utilized for specific communication purposes across different writing passages and functional styles, they gradually acquire new characteristics and expand their range of functions, leading to polyfunctionality.
In conclusion, stylistic devices (SDs) are purposefully employed to convey the profound thoughts of language users, enhancing the effectiveness and persuasiveness of written texts These rhetorical devices are characterized by unique linguistic expressions that fulfill specific objectives and generate artistic effects on audiences This study is grounded in the definitions of SDs provided by Galperin, which serve as the theoretical framework for the research.
Functions of Stylistic Devices
SDs are considered as distinctive linguistic expressions which make writing more effective, persuasive and successful for various purposes As Bazerman (2000:
39) concludes, “the basic function of rhetoric is the use of words by human agents to form attitudes or to include actions in other human agents” and “It is rooted in the essential function of language itself, a function which is wholly realistic, and is continually born a new”
According to Galperin (1977), in detail, SDs can help:
- To emphasize and highlight an attitude or opinion
- To amuse or entertain the reader
- To impress someone‟s position or situation on someone
- To criticize or satirize the issue that the writer mentions
- To make a train of thought more obvious to the audience
- To awaken the understanding, sympathy and pity for someone‟s situation
- To make remarks statements vivid and unforgettable
- To make something clear and understandable to the audience
Stylistic devices (SDs) play a crucial role in enhancing a writer's intent, adding beauty and depth to their work However, when used carelessly or excessively, these devices can render artistic creations unnatural or mechanical Conversely, when employed appropriately, stylistic devices engage readers and draw their attention to the writer's message, fostering deeper thought and connection.
In summary, rhetorical devices (SDs) enhance the effectiveness and persuasiveness of writing Our research highlights various issues concerning the functions of these devices, grounded in Galperin's theoretical framework.
Classification of Stylistic Devices
According to Galperin (1977), SDs are divided into three kinds based on their specific features and functions: phonetic, lexical and syntactical SDs
The stylistic approach to language extends beyond mere structure and meaning, as noted by Galperin (1977) Isolated words, phrases, or sentences lack aesthetic value when considered separately While the sound of a word may evoke a euphonic impression, this response is ultimately subjective, shaped by individual perception and feelings.
The stylistic approach to language focuses on the sound of words, phrases, and sentences While individual words often lack aesthetic appeal, their true phonetic effect emerges when combined with others, enhancing their overall impact.
Words primarily serve to identify objects, people, actions, and states of being, making their denotative meaning a key semantic feature Additionally, words can gain extra lexical meanings based on context, which are not always found in dictionaries The relationship between these two types of lexical meaning—dictionary and contextual—is referred to as "transferred meaning."
Related to contextual logical meanings, the lexical SDs are divided into the following types: a Simile
There are some simile‟s definitions both in English and Vietnamese
Simile is the comparison between two objects of different kinds which have at least one common point
Galerin (1977) defines simile as a comparison between two distinct entities that share at least one similarity In formal writing, similes serve as both an artistic and explanatory tool, helping to relate unfamiliar concepts—such as objects, events, or processes—to the reader's existing knowledge.
A simile is a figure of speech that makes a direct comparison between two unlike things, typically using the words "like" or "as" to highlight the similarities This literary device can also employ other terms that indicate an explicit comparison, enhancing the richness of language.
Let us consider these examples
Life is just like an ice-cream, enjoy it before it melts
In 99 phương tiện và biện pháp Tu từ Tiếng Việt Đinh Trọng Lạc (1996: 68) concludes, “So sánh tu từ hay còn gọi là so sánh hình ảnh, là một biện pháp tu từ ngữ nghĩa, trong đó người ta đối chiếu hai đối tượng khác loại của thực thể khách quan không đồng nhất với nhau hoàn toàn mà chỉ có một nét giống nhau nào đó nhằm diễn tả bằng hình ảnh một lối tri giác mới mẻ về đối tượng.” (Simile, also called figurative comparison, it is a kind of semantic trope in two different unentirely homogeneous classes of thing in the objective reality were compared to express figuratively a new way of perception about thing compared)
Cù Đình Tú (2001: 259) emphasizes that simile serves as an effective literary device for expressing ideas in a clear, concrete, and vivid manner.
“Tình anh như nước dâng cao Tình em như dải lụa đào tẩm hương ”
Simile increases the attractiveness for the mentioned things, make the sentence more vivid and interesting The simile also evokes our imagination so in poetry there are many similes
Let‟s analyze the following example:
“Mặt trời xuống biển như hòn lửa , Sóng đã cài then đêm sập cửa Đoàn thuyền đánh cá lại ra khơi”
The poet Huy Cận skillfully employs vivid imagery, such as "the sun," "the sea," and "the ember," along with similes, to depict the transition into night The simile "like an ember" enhances the reader's visualization of the sunset's grandeur, while the use of repetition further emphasizes the beauty of this natural phenomenon.
Repetition is a stylistic device that involves repeating words or phrases to enhance clarity and memorability It is widely used in both prose and poetry, serving as a rhetorical tool to emphasize key ideas This technique can involve the repetition of a single word, a phrase, a complete sentence, or a poetic line, all aimed at highlighting its importance within the text.
Repetition is a powerful tool rooted in emotive language, serving as a means to amplify feelings In contrast, when used in logical language, it functions merely as a grammatical instrument The essence of repetition lies in its ability to heighten emotional expression, reaching a peak of intensity that captivates the audience.
Let us have a look at the following example:
She believed I could nourish the child with what others eat, but the little one wept continuously, losing weight and strength The woman grew frustrated, insisting that the child's suffering was merely due to stubbornness.
In this example, the writer effectively emphasizes the plight of a malnourished child by repeating the phrase "and cry" three times, illustrating the child's desperate circumstances Living in poverty, the child is described as nothing but skin and bones, which explains the continuous cries that resonate day and night.
Repetition can be regarded as the typical SD in speeches It is also resorted to in order to persuade the audience, to add weight to the speaker‟s opinion
Repetition serves as a stylistic device that emphasizes key words, capturing the reader's attention effectively It can be categorized into various compositional patterns, including anaphora, epiphora, chain repetition, and anadiplosis.
Writers employ repetition as a stylistic device to create a strong emotional impact on readers while also providing logical emphasis This technique is essential for directing the reader's focus to the key terms within the text.
According to Lê Bá Hán (2007: 40), repetition is a rhetorical device defined by the intentional repetition of a word, phrase, sentence, or verse to emphasize a point or create a lasting impression on the reader or listener This technique serves to enhance the effectiveness of communication by reinforcing key ideas and engaging the audience.
Let us have a look at the following example:
“Chị vẫn tin chữ hợp cuối trang Kiều
Hoa mai nở hai lần hoa có hậu
Chị vẫn tin có mùa thu xanh đền cho cuốc kêu tháng sáu
Vẫn tin có ngày hái quả cho anh”
Related Translation Issues
Translation is a complex art that requires skill to accurately convey the meaning of one language into another Many definitions of translation exist, highlighting its nuanced nature.
Translation, as defined by Newmark (1988), involves conveying the meaning of a text in another language while preserving the author's intent Translators often face the challenge of balancing various tensions, such as the conflict between sound and sense, emphasis and naturalness, and figurative versus literal meanings It is essential to recognize that translation cannot merely replicate the original text; instead, it requires careful consideration of factors like grammar, comprehensiveness, conciseness, and accuracy across different text types, including legal, administrative, and cultural documents.
Translation is defined by Nida and Taber (1969) as the process of reproducing the closest natural equivalent of a source language message in the receptor language, prioritizing meaning first and style second.
According to Carbonell (2006), translation is defined as a form of communication that facilitates the achievement of various objectives It is essential to recognize that translation involves relocating the original communicative act to a new context, where different participants engage for distinct purposes This process includes a mediation mechanism that influences the entire act on multiple levels.
Translation is a key area of applied linguistics, where the translator actively compares and contrasts various elements of two languages to identify their equivalents.
The primary goal of a translator is to create a vivid representation that evokes the same impact on readers as the original text To achieve an effective translation, the translator must understand the social, religious, historical, and cultural contexts of both the source and target languages, utilizing standard equivalents, providing explanations, or otherwise conveying the original message accurately to the target audience.
To conclude, translation is understood in many different ways In this study, many problems related to translation are based on the theory of Newmark (1988)
Translational equivalence refers to the similarity between a word or expression in one language and its counterpart in another language, stemming from shared ranges of reference A translation equivalent is essentially the corresponding word or expression found in the target language.
Translation equivalence is a fundamental aspect of translation theory, focusing on the challenge of identifying suitable target language (TL) equivalents According to Catford (1965), the primary issue in translation practice revolves around this search for equivalence, making it a crucial task for translation theory to define the nature and conditions that govern translation equivalence.
Catford (1965: 27) regards “translation equivalence” as “an empirical phenomenon discovered by comparing SL and TL texts”
Translation equivalence is a crucial concept in the evaluation of translations, as highlighted by Catford (1965), who defined it as the replacement of original text material with equivalent text in the target language He identified two primary types of translation equivalents: linguistic equivalence, which focuses on the direct language aspects, and cultural equivalence, which considers the cultural context and significance in the translation process.
According to Baker (2011), translational equivalence is any meaning from the SL which expresses the same meaning in the TL
It can be seen that translational equivalence is the output of translation procedure involving a change in the grammar from SL to the TL
According to Catford (1965/2000), translation shifts are defined as deviations from formal correspondence when translating from the source language (SL) to the target language (TL) He identifies two primary types of translation shifts: Level shifts, which occur when an SL item at one linguistic level (such as grammar) corresponds to a TL equivalent at a different level (like lexis), and Category shifts, which are further categorized into four types: Structure-shifts, Class-shifts, Unit-shifts, and Intra-system shifts.
- Structure-shifts, which involve a grammatical change between the structure of the source text and that of the target text
- Class-shifts, when a SL item is translated with a TL item which belongs to a different grammatical class, i.e a verb may be translated with a noun
Unit-shifts refer to changes in rank during translation, where the translation equivalent of a unit in the source language (SL) does not correspond to a unit of the same rank in the target language (TL) This process highlights the flexibility required in translation, as it often necessitates adapting the structure and meaning to maintain coherence and accuracy across different languages.
Intra-system shifts occur in translation when the source language (SL) and target language (TL) systems have similar formal structures, yet a non-corresponding term is selected in the TL An example of this is when a singular noun in the SL is translated into a plural form in the TL, highlighting the complexities of maintaining meaning across different linguistic systems.
Catford (1965/2000) significantly advanced translation theory by introducing the concepts of translation types and shifts He categorized translation into broad types based on three key criteria, enhancing our understanding of the translation process.
- The extent of translation (full translation vs partial translation);
- The grammatical rank at which the translation equivalence is established (rank-bound translation vs unbounded translation);
- The levels of language involved in translation (total translation vs restricted translation)
In rank-bound translation, each word or morpheme in the source text (ST) is matched with an equivalent in the target language (TL) Conversely, unbounded translation allows for equivalences that are not restricted to a specific rank, enabling the identification of matches at the sentence, clause, and other levels.
According to Popovic (1970), in his definition of translation equivalence, distinguishes four types:
- Linguistic equivalence: where there is homogeneity on the linguistic level of both SL and TL texts, i.e word for word translation
- Paradigmatic equivalence: where there is equivalence of “the elements of a paradigmatic expressive axis”, i.e element of grammar, which Popovic sees as being a higher category than lexical equivalence
- Stylistic (translational) equivalence: where there is “functional equivalence of elements in both original and translation aiming at an expressive identity with an invariant of identical meaning
- Textual (syntagmatic) equivalence: where there is equivalence of the syntagmatic structuring of a text, i.e equivalence of form and shape
Translation serves as a vital means of communication, making it essential to achieve equivalence between the source and target texts However, complete equivalence is often impossible, and the effectiveness of a translation largely relies on the translator's ability to choose and establish an appropriate level of equivalence.
Loss and Gain in Translation
Once the principle is accepted that sameness cannot exist between two languages, it becomes possible to approach the question of loss and gain in the translation processes
When translating a language, achieving complete similarity in meaning and form between the two languages is impossible.
Translation Studies emphasizes that true equivalence between languages is unattainable According to Bassnett Mcguire (1980: 30), acknowledging this principle allows for a deeper exploration of the concepts of loss and gain inherent in the translation process.
Loss in translation refers to the absence of a direct equivalent for a source language concept in the target language This phenomenon highlights the challenges translators face when conveying meaning, as certain nuances may be overlooked or omitted in the target language text.
Changes in the information content of a message can occur when specific details from the source text are omitted Additionally, if the target language lacks a grammatical category present in the source language, the information conveyed by that category may need to be disregarded.
Loss refers to the absence of specific features in the target language text that are present in the source language text This phenomenon occurs primarily due to the lack of direct equivalence in concepts, words, phrases, and syntax between the two languages Thus, loss is significantly influenced by the inherent differences between the source and target languages.
“linguistic distance” between the two languages Loss is also a result of disparate cultures of the two languages
Loss of meaning in translation often occurs when expressiveness is not effectively conveyed, resulting in a diminished impact and vividness of the text Incompetence in the target language can lead to the omission of crucial words and phrases, further contributing to this loss To mitigate these issues, translators must be versatile and innovative in their approach to language.
Untranslatability is a significant challenge in translation, manifesting in two forms: linguistic and cultural Linguistic untranslatability arises when there are no grammatical or syntactic equivalents in the target language, making it easier to find equivalents for individual words than for entire texts Each language's unique environment contributes to this difficulty In contrast, cultural untranslatability occurs when the target language lacks relevant situational features present in the source language's culture The differences in language systems and cultural variations between the source and target languages complicate the translation process.
Gain is something not in the SL text that appears in the TL has no direct equivalent of a source language concept
According to McGuire (1980), gain in translation refers to the enrichment and clarification of the source language, allowing it to evolve and better serve its speakers This evolution is particularly evident with advancements in technology, which often necessitate the creation of new terminology in the target language Language is inherently dynamic, and this dynamism facilitates gain Additionally, gain is influenced by the expressiveness of a language and the creativity of the interpreter, who skillfully aligns language with social contexts to produce meaningful interpretations.
On the word level, gain can be understood simply by increasing the quantity
In translation, gain refers to the phenomenon where certain words or phrases from the source language cannot be directly translated into the target language This often necessitates the addition of extra elements to convey the intended meaning clearly.
Mona Baker (2011) highlights that grammatical differences between source and target languages can lead to alterations in the information conveyed during translation Such changes may involve the inclusion of information in the target text that is absent in the source text, particularly when the target language possesses grammatical categories that the source language does not.
In summary, the concepts of loss and gain in translation are significantly shaped by linguistic and cultural factors Gain refers to the enhancement or clarification of the original text during translation, while loss and gain are common and often unavoidable aspects of the process This dynamic ultimately aids readers in comprehending the translation more effectively Consequently, translators must assess the extent of meaning that has been lost or gained and strive to find optimal ways to address these discrepancies.
THE NOVEL SERIES TLTR
An Overview of the Novel Series TLTR
The TLTR novel series, authored by J R R Tolkien and first published in 1954, consists of three volumes: The Fellowship of the Ring, The Two Towers, and The Return of the King.
The TLTR novel series is set in Tolkien's enchanting Middle-earth, a richly crafted world featuring diverse geography and a variety of races, including elves, dwarves, humans, hobbits, and ents This fictional realm boasts its own unique languages and a history that spans thousands of years, immersing readers in a captivating narrative.
The TLTR novel series follows the epic struggle of Middle-earth's inhabitants as they unite against a dark lord, the central antagonist of the story Their mission is to destroy a powerful ring that, if obtained by the dark lord, would grant him immense power However, the challenge lies in the fact that the only location capable of destroying the ring is deep within enemy territory.
In the fictional realm of Middle Earth, the narrative follows a perilous quest to locate and destroy the Ring of Lord Sauron, a dark force that, despite having perished millennia ago, continues to seek the Ring to regain its lost power.
Sauron created the One Ring to dominate Middle Earth, but in response to his tyranny, the People and the Tien clan united against his empire The fierce battle at Mount Doom culminated in the death of Elendil, the king of men, at Sauron's hands However, Elendil's son, Prince Isildur, managed to sever the ring from Sauron, leading to the defeat of his demon army Despite this victory, Sauron's spirit remained tied to the ring, and he could only be vanquished with its complete destruction.
The ring, after being lost for a long time, eventually came into the possession of Frodo Baggins, who, along with eight companions from the Fellowship of the Ring, took on the monumental task of destroying it Their perilous journey leads them to Mount Doom in Mordor, the sole location capable of obliterating the ring.
It was an adventurous adventure, starting from the hometown “the Shrine”, the four hobbits leaving, carrying the ring of the Lord, to the bottom of the slot
In the perilous journey from Rivendell, nine companions, guided by Gandalf, faced unprecedented dangers Tragically, Boromir fell into the abyss while confronting the monster Balzog Despite the loss, Frodo and Sam pressed on towards their daunting goal of destroying the ring Each member of the fellowship—Aragorn, Legolas, Gimli, Pippin, Merry, and Gandalf—carried their own mission, united by a promise to overcome despair and fulfill their quest Through numerous challenges, their unwavering willpower and kindness shone brightly, ultimately leading to the downfall of the dark lord and the emergence of hope, as new life blossomed from the remnants of destruction.
The Vietnamese Translational Version of TLTR
In Vietnam, Literature Publishing House associated with Nhã Nam Culture and Media Company has released TLTR with three volumes compiled by Nguyễn Thị Thu
Yến, Đặng Trần Việt, Tâm Thủy and An Lý in 2018
Vietnamese readers can fully appreciate the themes, artistry, and concepts of the TLTR novel series through the Vietnamese translation titled "Chúa tể của những chiếc nhẫn," expertly translated by Nguyễn Thị Thu Yến, Đặng Trần Việt, Tâm Thủy, and An Lý.
This novel has garnered widespread acclaim from readers globally, and its translated versions offer Vietnamese readers valuable insights into the epic struggle of the peoples of Middle-earth against the Lord of the Rings.
SUMMARY
This section has provided a comprehensive literature review and theoretical background pertinent to the study While numerous theses have explored stylistic devices (SDs), there remains a notable gap in research specifically addressing the loss and gain of Vietnamese translational equivalents of SDs in the novel series.
TLTR by J R R Tolkien My theoretical background is mainly based on the view of Galperin‟s SDs, Catford‟s translation equivalence and Newmark‟s translation method
RESEARCH DESIGN
To analyze the phenomena of loss and gain in SDs within the TLTR novel series, the researcher utilized a mixed-methods approach, combining both qualitative and quantitative research methods.
RESEARCH METHODS
The study utilized a combination of methods to analyze stylistic devices (SDs) in the novel series TLTR Primarily, the descriptive method provided a detailed overview of the SDs, while the contrastive method identified similarities and differences between English SDs and their Vietnamese translations, emphasizing characteristics of loss and gain in lexis, structure, and meaning Additionally, a qualitative approach was employed to assess the loss and gain in lexis, syntax, and meaning within the Vietnamese version Lastly, a quantitative method was implemented to gather data on the frequency of SD categories and the phenomena of loss and gain during the translation process from English to Vietnamese.
DATA COLLECTION
Samples
A comprehensive study analyzed 463 instances of five stylistic devices (SDs)—simile, repetition, metaphor, personification, and rhetorical questions—from the novel series "TLTR," alongside their Vietnamese translations from "Chúa tể của những chiếc nhẫn." The findings revealed that out of these cases, 150 samples exhibited notable loss and gain in the Vietnamese translations of the SDs from the original text.
TLTR by J R R Tolkien All samples were translated into Vietnamese with the features of SDs retained.
Sampling criteria
The samples were collected based on three criteria:
- The English sample must be a sentence or a sequence of sentences containing a SD based on the definition of SDs mentioned in Chapter Two
- The Vietnamese sample must be a Vietnamese translational equivalent of the English sample
- The samples must be taken from the English version TLTR by J R R
The Vietnamese translation of J.R.R Tolkien's "The Lord of the Rings," titled "Chúa tể của những chiếc nhẫn," is uniquely crafted by translators Nguyễn Thị Thu Yến, Đặng Trần Việt, Tâm Thủy, and An Lý This translation marks the first and only version available in Vietnam, showcasing the translators' dedication to bringing Tolkien's epic fantasy to Vietnamese readers.
DATA ANALYSIS
The researcher analyzed to find out all SDs in the novel series TLTR
The researcher analyzed the phenomena of lexical loss and gain in the Vietnamese version of the TLTR novel series by identifying common characteristics and presenting the findings in percentage form in tables.
The researcher examined the structural losses and gains in the Vietnamese version of the TLTR novel series, presenting the findings through detailed tables and figures that illustrate the frequency of these aspects.
To address the phenomena of loss and gain, the researcher defined a classification system for the SDs, organized them into distinct groups, and presented their distribution in a tabulated format.
The researcher meticulously documented the frequency of occurrences in each section, providing examples and discussing their functions while summarizing the phenomena of loss and gain associated with speech deviations (SDs) in the TLTR novel series.
RESEARCH PROCEDURE
To carry out the study properly and provide a deep and detailed research on the large number of SDs in the novel series TLTR, the researcher follows major steps:
- Identifying the stylistic devices in the novel series TLTR
- Finding out the lexical loss and gain of SDs in the novel series TLTR
- Exploring the meaning loss and gain of SDs in the novel series TLTR
- Discovering the syntactic loss and gain of SDs in the novel series TLTR
- Providing some suggestions for the English as foreign language teaching and learning.
RELIABILITY AND VALIDITY
In term of validity, the data collection of this study are taken from the English version TLTR by J R R Tolkien and the Vietnamese translational version
Chúa tể của những chiếc nhẫn by the translators Nguyễn Thị Thu Yến, Đặng Trần
Việt, Tâm Thủy and An Lý They are checked up carefully to make sure their origin
The reliability of the data sources is crucial for understanding the criteria related to significant losses and gains Additionally, the statistics provided clearly categorize these phenomena in terms of lexis, syntax, and meaning, supported by precise and logical examples.
The study meticulously adhered to its research design, ensuring that all procedures were executed with precision to uphold the validity and reliability of the findings.
Chapter Four FINDINGS AND DISCUSSION
This chapter is divided into two main sections: the first analyzes the stylistic devices (SDs) frequently utilized in Tolkien's novel series "TLTR," including simile, repetition, metaphor, personification, and rhetorical questions The second section explores the challenges of translating these SDs into Vietnamese, focusing on the concepts of loss and gain in meaning during the translation process.
STYLISTIC DEVICES IN THE NOVEL SERIES TLTR
Lexical SDs
Simile is a rhetorical figure expressing comparison or likeness that directly compares two things through some connective words such as “like”, “as”, “as as”,
“as if ” Simile can be used to make descriptions more emphatic or vivid
Maybe thanks to the expressive function as well as the simple construction, simile are commonly used in literary works, especially in novels to attract the attention of the readers
In the TLTR novel series, Tolkien effectively employs comparative elements, including equational phrases like "as as" and "like," as well as superior constructions such as "more than" and "more more," alongside superlative forms like "the most" and "the least," to vividly compare and describe the characters and objects within the narrative.
In fact, in literature, simile plays an important role in attracting readers‟ attention and makes the sentences or verses supple because of its inherent characteristics
+ Similar Comparison (as as, like/as)
I rode on with trepidation and arrived in Buckland, where chaos reigned, bustling like a disturbed ant hive Approaching the house, I could sense the turmoil surrounding me.
Crickhollow, and it was broken open and empty; but on the threshold there lay a cloak that had been Frodo's (Tolkien, 1954, p.343)
In the above example, we can see that Tolkien used the similar comparison
Buckland is depicted as "as busy as a hive of ants that has been stirred with a stick," illustrating a chaotic atmosphere Gandalf arrives feeling anxious and restless due to the lack of news about Frodo His confusion deepens when he spots Frodo's cloak on the ground, heightening the tension of the scene This vivid imagery effectively conveys the turmoil surrounding Frodo's disappearance.
Buckland is extremely chaotic and confused because of the appearance of Saruman's force It makes the atmosphere in Buckland gloomier
Besides using the similar comparison “as as” , Tolkien also used "like" ,
"as" or “as if” as another way to describe the objects he wanted to compare It can be clearly seen in the following examples
Gandalf's artistry evolved beautifully over time, resembling a dazzling display of rockets that soared like vibrant birds, their melodious songs enchanting the air The landscape featured lush green trees with trunks resembling dark smoke, their leaves unfurling in a breathtaking burst, akin to the arrival of spring in an instant.
Through the example above, we see that the author used the image of simile
The fireworks at Bilbo's birthday party are beautifully described as "a flight of scintillating birds singing with sweet voices." This simile vividly compares the dazzling rockets to melodious birds, allowing readers to fully appreciate the beauty, shimmer, and sparkle of the fireworks display.
(4.3a) In the dark without moon or stars a drawn blade gleamed, as if a chill light had been unsheathed (Tolkien, 1954, p.231)
The author employs the phrase "as if" to create a vivid comparison of Mordor's knife, depicting it as a chilling light that emerges in the darkness This imagery enhances the reader's experience of the night in Bree, where the Fellowship of the Ring rests, emphasizing the oppressive darkness that makes the knife's light feel cold and foreboding.
Sometimes similes are formed without using the words like "like" or "as"
Comparative adjectives serve to highlight differences between two objects They are typically used in sentences that follow this structure: Noun (subject) + verb + comparative adjective + than + Noun (object) This grammatical form allows for clear comparisons in various contexts.
In English grammar, the second item of comparison may be omitted if the context is clear Forming comparatives is straightforward: one-syllable adjectives typically take the suffix -er, while two-syllable adjectives can either add -er or use "more" before the adjective For adjectives with three or more syllables, "more" is always used Additionally, some adjectives have irregular comparative forms Notably, comparative comparisons are frequently found in the TLTR novel series.
Emerging from a dark shadow beneath the cliff, he encountered a grotesque creature, more terrifying than any nightmare This monstrous figure resembled a spider, but was larger than the fiercest hunting beasts, exuding a chilling malevolence from its unyielding gaze The eyes that once seemed subdued now burned with a sinister light, intensifying the horror of its presence.
In their journey to Mordor, Sam and Frodo confront a formidable predator, highlighting the escalating forces of darkness they must face The phrases "huger than" and "more terrible than" underscore the growing challenges and destructive power they encounter along the way, indicating that their struggles will intensify as they progress.
The double comparison is frequently employed in the TLTR novel series When two elements undergo changes at the same level, the author utilizes the comparative form in both clauses to convey this relationship This technique is evident in several examples throughout the text.
In a moment of caution, Gollum warns himself to be careful, emphasizing that rushing can lead to danger He lifts his head to gaze at the moon but soon closes his eyes, reflecting his inner turmoil and the need for vigilance.
“More haste less speed” is Gollum's self-telling to himself when looking for
In the quest to reclaim the precious ring, Gollum understands that patience and careful planning are crucial for success The author illustrates this through a double comparison, emphasizing that Gollum must remain sober, persistent, and calm, acting more wisely than in the past By adopting this strategic approach, Gollum enhances his chances of successfully stealing Frodo's ring.
(4.6a) „All except one thing,‟ said Aragorn: „leaf from the Southfarthing in Isengard The more I consider it, the more curious I find it I have never been in
Isengard, but I have journeyed in this land, and I know well the empty countries that lie between Rohan and the Shire (Tolkien, 1954, p.750)
Aragorn expresses skepticism about the "leaf from the South-farthing in Isengard," using a double comparison to highlight his doubts Despite never having visited Isengard, he senses something unusual about the situation.
However, to describe the growing quality, quantity, etc, the author use the structures “short adjective- er and short adjective- er” or “more and more + long adjective”
The fens became increasingly saturated, transforming into expansive, stagnant pools, making it increasingly challenging to locate solid ground where one could walk without sinking into the muddy depths.
Syntactical SDs
The analysis of the collected data revealed the presence of a single syntactical stylistic device: the rhetorical question Unlike standard yes/no or informational questions, rhetorical questions are not intended to elicit a response; instead, they often contain their own answers and serve to emphasize a deeper meaning This distinction highlights the unique function of rhetorical questions in communication.
A rhetorical question, while formally a question, serves as a sentimental or negative statement that enhances literary works by bringing words to life and sparking readers' imaginations Due to their significance and impact, rhetorical questions are prominently featured in various forms throughout the TLTR novel series.
Rhetorical questions, often structured as Wh-questions, serve a purpose beyond seeking information; they are employed by speakers to achieve specific effects These questions include forms such as "Where," "What," "When," "Which," and "How many/much/often/far," highlighting their diverse applications in communication The prevalence of Wh-questions in discourse underscores their significance in conveying meaning and engaging audiences effectively.
Why ” as in the following examples:
(4.26a) 'Éowyn, Éowyn!' he cried at last: 'Éowyn, how come you here? What madness or devilry is this? Death, death, death! Death take us all!' (Tolkien,
In (4.26a), Éomer's rhetorical questions reflect his despair and disbelief as he finds his sister, Éowyn, lying motionless on the ground Overcome with hopelessness and fear, he struggles to accept the grim reality of her condition, illustrating his deep emotional turmoil in the face of her potential death in battle.
(4.27a) Nobody left alive! Whose had been that horrible dying shriek?
`Frodo, Frodo! Master!' he cried half sobbing 'If they've killed you, what shall I do?
Well, I'm coming at last, right to the top, to see what I must.' (Tolkien, 1955, p.1183)
In a moment of sheer terror, Sam poses two rhetorical questions: "Whose had been that horrible dying shriek?" and “If they've killed you, what shall I do?” These questions highlight Sam's deep affection for Frodo and his overwhelming fear for his safety Convinced that Orcs would go to any lengths to harm Frodo and seize the precious ring, Sam's thoughts are solely focused on protecting his master, disregarding his own peril His purpose in this journey is clear—he is devoted to safeguarding Frodo, the bearer of the ring, and the thought of losing him leaves Sam feeling lost and helpless.
In the TLTR novel series, rhetorical questions differ from typical yes-no inquiries, as they do not require audience confirmation Instead, these questions guide readers' focus towards character-related issues, enhancing the narrative engagement.
In a moment of deep frustration, she questions her fate, wondering if she will forever be overlooked while the Riders embark on their heroic journeys Left to tend to the home, she feels the weight of her responsibilities as they seek glory and adventure, leaving her to provide for their return.
In Éowyn's response to Aragorn, Tolkien employs two impactful yes-no rhetorical questions, notably "Shall I always be chosen?" This succinct query reflects her unwavering determination and desire to join the battle alongside the men, highlighting her frustration at being relegated to a position of leadership while others seek glory in war.
Strider questioned whether anyone would have believed him up to that point, expressing his uncertainty about the letter's significance He acknowledged his lack of knowledge regarding the document and recognized that he needed to earn the group's trust without any proof to offer his assistance.
In (4.29a), Strider's rhetorical questions serve as a reprimand, highlighting his struggle to gain the fellowship's trust despite his unconventional appearance and demeanor He passionately urges them to see the truth about him, questioning, "Would it? Would any of you have believed me till now?" This moment underscores the challenges he faces in convincing others of his true character.
The rhetorical questions presented serve as affirmative statements, designed to assert and emphasize the harsh realities faced by slaves in their daily lives.
(4.30a) He opened his eyes and looked up as they came in 'Hullo, hullo!' he said 'So you've come back? And tomorrow's my birthday, too How clever of you!
Do you know, I shall be one hundred and twenty-nine?'(Tolkien, 1955, p.1291)
In this passage, rhetorical questions serve as a warm welcome for the Fellowship of the Ring returning home It also marks Bilbo's 129th birthday, as he proudly announces, "Do you know, I shall be one hundred and twenty-nine?" This statement highlights a significant milestone in his life as he prepares to embrace a new age, notably without the presence of the precious ring.
Or it can be seen through examples below
(4.31a)'Hinder me? Thou fool No living man may hinder me!' (Tolkien,
(4.32a)`Safely! 'said Sam `All alone and without me to help you? I couldn't have a borne it, it'd have been the death of me.' (Tolkien, 1954, p 521)
Negative rhetorical questions share a common structure, beginning with the word "Not" followed by auxiliary verbs This distinctive format is utilized in various ways throughout the TLTR novel series, showcasing its versatility in expressing complex ideas.
(4.33a) “Bill Ferny?” said Frodo “Isn‟t there some trick? Wouldn‟t the beast bolt back to him with all our stuff, or help in tracking us, or something?” (Tolkien, 1954, p.234)
Sam expressed relief that luck was on his side, though he felt it was a close call He lamented the presence of countless Orcs and the added threat posed by a vile villain lurking nearby.
Frodo questioned Pippin, recalling that Gandalf seemed less close than before, suggesting that he was weary from his labors at that time However, Frodo noted that Gandalf is now in a state of recovery.
(4.36a) “What, just in time to meet Bilbo? Said Frodo “Wouldn‟t an Orc suited it better?” (Tolkien, 1954, p.73)
(4.37a) I hope Strider or someone will come and claim us! But ought I to hope for it? Won‟t that throw out all the plans? I wish I could get free!” (Tolkien,
(4.38a) “What about the Elves? said Sam, too excited to trouble about the rider “Can‟t we go and see them?” (Tolkien, 1954, p.103)
Frequency of Occurrences of SDs in the novel series TLTR
Table 4.1 Frequency of Occurrences of SDs in the novel series TLTR
Types of stylistic devices The Lord of The Rings
The data indicates that simile is the most prevalent stylistic device, comprising 32.7% of the total, followed by rhetorical questions at 26.7% and repetition at 25.3% Personification accounts for 10%, while metaphor is the least common at 5.3% Overall, lexical stylistic devices are more frequently observed, making up 73.3% compared to syntactical ones.
The novel series TLTR prominently features literary devices such as simile, repetition, metaphor, personification, and rhetorical questions, enhancing readers' comprehension and conveying deeper meanings These techniques not only clarify concepts but also enrich the vocabulary of the target language The flexible and effective combination of these five stylistic devices contributes significantly to the unique appeal of TLTR, making it a standout in its genre.
The percentage of occurrences of SDs in the novel series TLTR is illustrated as follows:
Figure 4.1 Percentage of Occurrences of SDs in the novel series TLTR
This study analyzes 150 instances of loss and gain in the Vietnamese translations of stylistic devices (SDs) from Tolkien's TLTR series, utilizing translation shifts proposed by Catford (1965/2000) The research identifies Level shifts and Category shifts, which encompass Class shifts, Structure shifts, Unit shifts, and Intra-system shifts.
