Cognitive study of sentimental expressions containing colours used in english and vietnamese novels

THE UNIVERSITY OF DANANG UNIVERSITY OF FOREIGN LANGUAGE STUDIES LƢƠNG THỊ THẢO NGUYÊN A COGNITIVE STUDY OF SENTIMENTAL EXPRESSIONS CONTAINING COLOURS USED IN ENGLISH AND VIETNAMESE NOVELS Major: ENGLISH LINGUISTICS Code: 822.02.01 MASTER THESIS IN LINGUISTICS AND CULTURAL STUDIES OF FOREIGN COUNTRIES Da Nang, 2020 THE UNIVERSITY OF DANANG UNIVERSITY OF FOREIGN LANGUAGE STUDIES LƢƠNG THỊ THẢO NGUYÊN A COGNITIVE STUDY OF SENTIMENTAL EXPRESSIONS CONTAINING COLOURS USED IN ENGLISH AND VIETNAMESE NOVELS Major: ENGLISH LINGUISTICS Code: 822.02.01 MASTER THESIS IN LINGUISTICS AND CULTURAL STUDIES OF FOREIGN COUNTRIES SUPERVISOR: TRẦN QUANG HẢI, Ph.D Da Nang, 2020 ii ABSTRACT My study examines the colour symbolism of sentimental expressions containing colours in the two novels Jane Eyre and The Great Gatsby together with their Vietnamese versions The colour symbolism is employed throughout the whole novels which plays an important role in developing the amazing plots, shaping characters and deepening the themes These colours were able to make a deep and huge impression on every reader because they run through the whole novels and they also contain a deep layer meaning wherever they intentionally appear, especially in sentimental expressions of notable characters As far as I know, Western countries and Eastern nations in general or England and Viet Nam in particular, have their own respective cultural backgrounds, which leads to different cultural connotations of the same basic colours In order to explain clearly the similarities and differences of sentimental expressions containing colours under cognitive linguistic viewpoints, I discussed the results of different language cultures, historical backgrounds, religious beliefs, modes of thinking, political systems, traditional customs and so on in Western and Eastern countries iii TABLE OF CONTENTS Statement Of Authorship i Abstract ii Table Of Contents iii List Of Tables v List Of Chart vii Chapter INTRODUCTION 1.1 RATIONALE 1.2 AIMS AND OBJECTIVES 1.2.1 Aims .2 1.2.2 Objectives .2 1.3 RESEARCH QUESTIONS 1.4 SCOPE OF THE STUDY 1.5 ORGANIZATION OF THE STUDY Chapter LITERATURE REVIEW AND THEORETICAL BACKGROUND .4 2.1 PRIOR RESEARCHES RELATED TO THE STUDY 2.2 THEORETICAL BACKGROUND 2.2.1 Sentimental expressions 2.2.2 Meaning of colours .8 2.2.3 Symbolism 11 2.2.4 Colour Symbolism 12 2.2.5 Cognitive linguistics .16 2.2.6 Metaphor in literature 20 2.2.7 The relationship of culture, language and cognition 22 2.2.8 Translation 26 2.2.9 The author‘s biography 28 2.2.10 Summary of the two novels 27 iv Chapter METHOD AND PROCEDURE 30 3.1 RESEARCH DESIGN 30 3.2 RESEARCH PROCEDURES 30 3.2.1 Data Collection .30 3.2.2 Data Analysis .31 3.3 RELIABILITY AND VALIDITY 31 Chapter FINDINGS AND DISCUSSIONS .32 4.1 Sentimental expressions containing colours in the two English novels and their Vietnamese translated versions 32 4.1.1 Sentimental expressions containing colours in Jane Eyre and its Vietnamese translated version .50 4.1.2 Sentimental expressions containing colours in The Great Gatsby and its Vietnamese translated version .62 4.2 The similarities and differences of those expressions in Englsih and Vietnamese 63 4.2.1 The similarities .66 4.2.2 The Differences 67 Chapter CONCLUSION, IMPLICATIONS AND LIMITATIONS 94 5.1 CONCLUSION 94 5.2 IMPLICATION 95 5.3 LIMITATION 96 5.4 SUGGESTION FOR FURTHER STUDY 97 REFERENCE APPENDIX QUYẾT ĐỊNH GIAO ĐỀ TÀI (bản sao) v LIST OF TABLES Number Name of tables Page 2.1 Basic meanings of colours in Western countries 10 2.2 Sample of English and Vietnamese Color Idioms 13 2.3 Sample of English and Vietnamese Color Proverbs 14 2.4 Sample of English and Vietnamese Color Collocations 15 2.5 Sample of English and Vietnamese Color Metaphors 15 4.1 English and Vietnamese translation of the colour red in Jane Eyre 72 4.2 4.3 4.4 4.5 4.6 4.7 English and Vietnamese translation of the colour black in Jane Eyre English and Vietnamese translation of the colour black in The Great Gatsby English and Vietnamese translation of the colour blue in Jane Eyre English and Vietnamese translation of the colour blue in The Great Gatsby with positive connotations English and Vietnamese translation of the colour blue in The Great Gatsby with negative connotations English and Vietnamese translation of the colour green in Jane Eyre 73 74 75 76 76 79 English and Vietnamese translation of the colour green in The 4.8 80 Great Gatsby with positive connotations English and Vietnamese translation of the colour green in The 4.9 81 Great Gatsby with negative connotations English and Vietnamese translation of the colour green in The 4.10 81 Great Gatsby with negative connotations 4.11 English and Vietnamese translation of the colour white in The Great Gatsby with positive connotations 83 vi Number 4.12 4.13 4.14 4.15 4.16 4.17 4.18 Name of tables English and Vietnamese translation of the colour whitein Jane Eyre with positive connotations English and Vietnamese translation of the colour yellow in The Great Gatsby with postive connotations English and Vietnamese translation of the colour yellow in The Great Gatsby with negative connotations English and Vietnamese translation of the colour purple in Jane Eyre with positive connotations English and Vietnamese translation of the colour purple in Jane Eyre with negative connotations English and Vietnamese translation of the colour gray in Jane Eyre and The Great Gatsby English and Vietnamese translation of the colour pink in The Great Gatsby Page 83 85 86 88 89 91 92 vii LIST OF CHART Number 4.1 Name of Chart Five element/ energy chart Page 80 Chapter INTRODUCTION 1.1 RATIONALE In order to complete a successful story, a writer will intentionally choose a lot of useful techniques so that he or she can convey his characters‘ thoughts and ideas in a wonderful way One of the most special ways to show the emotions and meanings between the lines is using colours because they themselves not only hold different meanings in different religions and cultures, but they also convey different feelings Colours themselves have the ability to make people express certain emotions Colours are even used as the titles of some famous novels, such as Blue Highways (1982), The White Princess (2013) and The Virgin Blue (1997) There are so many books successfully written in expressing characters‘ personalities through colours Most of them are wonderful and interesting but I am interested in The Great Gatsby and Jane Eyre together with those Vietnamese versions There are many reasons for me to choose those ones for representing in this thesis Firstly, these two authors successfully use colour symbolism more frequently throughout their masterpieces than others In addition, the colour symbolism is employed throughout the whole novel which plays an important role in developing the amazing plots, shaping characters and deepening the themes Finally, these colours are able to make a deep and huge impression on every reader because they run through the whole novels and they also contain a deep layer meaning wherever they intentionally appear, especially in sentimental expressions of notable characters As I have noted, I myself decided to choose ―A Cognitive Study of Sentimental Expressions Containing Colours Used in English and Vietnamese novels‖ as my thesis 95 Western countries and Eastern nations in general or England and Viet Nam in particular, have their own respective cultural backgrounds, which leads to different cultural connotations of the same basic colours Under cognitive linguistic viewpoints, different language cultures, historical backgrounds, religious beliefs, modes of thinking, political systems, traditional customs and so on in Western and Eastern countries are the correct answers for these similarities and dissimilarities 5.2 IMPLICATION In reality, it is difficult for Vietnamese learners of Englsih to learn to interpret sentimental expressions containing colours The learners will be possibly confused at clarifying the meanings of colours because colours are symbolic In addition, in daily life communication the native speakers have a tendency to use colour widely, which may become obstacle in carrying communication if they not know what the speakers means through colours That is more terrible because it may cause misunderstanding In order to help Vietnamese learners of English to overcome the above problems, we would like to give some suggestions for language teaching and learning Firstly, colour symbolism should be introduced to language learners at all levels However, they should be introduced in different ways for different levels For elementary levels, commonly used colour symbolism should be presented; infrequent and highly colloquial ones should be advoided The presented colour symbolism should be selected in accordance with their levels I think colour symbolism with complicated devices of meaning transfer such as metaphor, metonymy,…should not be presented in order not to make them so confused Task or exercises comparing literal and figurative meanings of colours should be used to help learners to be familiar with them Exercises should be simply designed with the purpose to check their memory and help them remember From the specific communicative context, teachers should provide a link from the literal words to non-literal meaning so that students can easily remember and used them properly 96 For the intermediate and advanced levels, activities encouraging production of colour symbolism through conversations and discourses should be used to help learners grasp it in a communication way Reading and listening materials relating colour symbolism should also be picked fro teaching Teachers should encourage and give opportunities for students to use colour symbolism in speaking and writing By this way, learners are able to master colour symbolism and use them effectively The more teachers help students understand colour symbolism, the easier students find to translate them Secondly, teachers should be sensible in dealing with cultural differences to have more precise explanation for the learners Through this methof, learners will widen the knowledge about the culture of the two countries They also recognize how culture has influenced on languages Contexts should be published and explained for learners so that they can use these idioms correctly in social interaction Thirdly, the learners should be helped to use idioms in different communicative skills especially in speaking and writing Teachers should also assess their nderstanding and application We also give them comments so that they will improve next time Last but not leats, to understand the meanings of colours, one only has the basis knowledge of language but also have to know much more about culture, belief or knowledge of mental states such as interests, goals, opinions… which are considered as barriers in their language acquisition 5.3 LIMITATION In spite of the fact that I have tried my best to search for necessary materials, there could leave the possibility that the following shortcomings can not be advoidable: - Firstly, this paper could not cover all constructions as well as sentimental expressions containing colours in English versus Vietnamese novels under 97 discussion due to the limitation of time, lack of relevant materals relating to this topic in both English and Vietnamese - Secondly, I myself can not find out all the possible reasons for the similarities and dissimilarities in colour symbolism between English and Vietnamese 5.4 SUGGESTION FOR FURTHER STUDY In this thesis, we have confined ourselves to the study of a humble part of colour symbolism in English versus Vietnamese under the viewpoint of cognitive perspectives to find out the similarities and differences As a result, many other aspects need to be studied in further researches For example, the research of the idioms related to the concept of colour in English versus Vietnamese may be carried out in term of Pragmatic features under the viewpoint of cognitive perspectives REFERENCE ENGLISH Brent Berlin and Paul Kay (1969), Basic Color Terms: Their University and Evolution, University of California Press Brock, P (1970), Culture Shock, NewYork Cobuild, C (1987), English Language Dictionary, Oxford University Press Crowther, J (1995), Oxford Advanced Learner’s Dictionary of Current English, Oxford University Press Ellis, K and Bavhkhuizen, G (2005), Analyzing Learners Language, Oxford University Press Fodor, J (1981), Language of Thought, New York Friedrich, U & Han-Jord, S (1996), An Introduction to Cognitive Linguistics, Longman, London Gardenfors, P., Allwood, J (eds) (2002), Cognitive Semantics, John Benjamins Publishing Company, Amsterdam/Philadenphia Gelfand, M.J (2011), Advances in Culture and Psychology, Oxford University Press Kovesces, Z and Radden, G (1999), Toward a Theory of Metonymy, John Benjamin Publishing Company Kramsch, C (1998), Language & Culture, Oxford University Press Lakoff, G., &Johnson, M (1980), Metaphors We Live By, The University of Chicago press Lakoff, G (2003), Cognitive Semantics, The University of Chicago Press Leonard, T (2000), Toward a Cognitive Semantics, Mit Press Longman (1987), Longman Dictionary of Language Teaching and Applied Linguistics, England Oxford (1995), Oxford Advanced Learner’s Dictionary of Current English, Oxford University Press Oxford (2005), Oxford Advanced Learner’s Dictionary, Oxford University Press Schusky, T Patrick Culbert (1973), Introducing Culture, Prentice – Hall Vyvyan Evans and Melanie Green (2006), Cognitive Linguistics: An Introduction, Edinburgh University Press VIETNAMESE Trần Thị Thu Huyền (12/2001) “Hoa cỏ màu sắc thành ngữ tiếng Anh tiếng Việt”, Tạp Chí Ngơn Ngữ đời sống, trang Mai Nguyễn Diệu Khoa (2003), An Investigation into Metaphoric Meanings of Words Denoting Colors in English and Vietnamese, M.A thesis, Da Nang University Nguyễn Lân (1998), Từ điển từ ngữ Việt Nam, Nxb TPHCM Phan Ngọc (1998), Bản sắc văn hóa Việt Nam, Nxb Văn hóa thơng tin Trương Thanh Ngọc (2003), A Study on the Semantics of Words Denoting Color in English and Vietnamese, M.A thesis, Da Nang University Từ Điển Việt –Anh (2002), Nxb Văn Hóa Thơng Tin, Hà Nội Nguyễn Quang (1997), Intercultural Communication, Foreign Language University Nguyễn Thị Thu Sương (1999), An Investigation into Semantic Feature Words Denoting Color in English, M.A thesis, Da Nang University Lý Tồn Thắng (2005), Ngơn ngữ học tri nhận – từ lý thuyết đại cương đến thực tiễn tiếng việt, Nxb Khoa Học Xã Hội, Hà Nội Trần Ngọc Thêm (1996), Tìm sắc văn hóa Việt Nam, Nxb TPHCM Nguyễn Đức Tồn, (2002), Tìm hiểu đặc trưng ngơn ngữ văn hóa tư người việt, Nxb Đại học quốc gia, Hà Nội SOURCES OF DATA VIETNAMESE AND ENGLISH STORIES & BOOKS [32] Jane Eyre ( Charles Bronte) [33] The Great Gatsby ( F.Scott Fitzgerald) [34] Jane Eyre ( Trịnh Y Thư dịch) [35] Gatsby vĩ đại ( Dịch giả Hoàng Cường) APPENDIX APPENDIX 1: Sentimental expressions containing colours extracted from Jane Eyre and its translated version ORIGINAL VERSION (1a) Take her away to the red-room, and lock her in there (2a) The red room was a square chamber,…hung with curtains of deep red damask, …; the carpet was red (3a) the secret of the red-room TRANSLATIONAL VERSION (1b) Đem nhốt vào phịng đỏ cho ta (4a) Daylight began to forshake the red room (5a) Abbot and Bessie, I believe I gave orders that Jane Eyre should be left in the red-room till I came to her myself (6a) before me a terrible red glare….the red glare was the nursery fire…‖ (4b) Ánh sang bắt đầu tan dần phòng đỏ (5b) Abbot, Bessie, ta tin ta lệnh nhốt bé Jane Eyre vào phịng đỏ đích thân ta đến mà (6b) quầng sáng đỏ chói đáng sợ… quầng sang đỏ chói lửa phịng sưởi trẻ (7b) Tơi đốn lúc bị nhốt phòng đỏ…‖ (8b) sau cố phòng đỏ… (7a) I suppose, in the red-room with (8a) followed this incident of the redroom (9a) I shall remember how you thrust me back-roughly and violently thrust me back – into the red room (10a) a little red gallery high up against the wall filled with musical instruments (11a) ― In the course of the tale I had mentioned Mr Lloyd as having come to see me after the fit: for I never forgot the, to me, frightful episode of the red room (12a) it seemed as if there was a fire lit, an altar burning behind its screen of marbled vapour, and out of apertures shone a golden redness (13a) As I looked up at them, the moon appeared momentarily in that part of the sky which filled their fissure; her disk was blood-red and half overcast (2b) Phịng đỏ phịng vng vức ,….treo tướng gấm đỏ thẫm…; thảm trải sàn màu đỏ (3b) bí mật phịng đỏ (9b) Có chết quên chuyện bà đẩy – thơ bạo dằn – vào phịng đỏ khóa cửa nhốt tơi (10b) tít cao tường gác nhỏ màu đỏ chất đầy nhạc cụ (11b) Trong lúc kể, tơi có đề cập tới việc ông Lloyd đến khám cho sau bị ngất, chẳng thể quên kiện kinh hồng tơi phịng đỏ (12b) thể có quầng lửa, lửa bùng cháy án thờ đằng sau mỏng manh vân cẩm thạch, qua kẻ hở lóe lên màu đỏ ối (13b) Khi tơi ngước lên nhìn thân dẻ chẻ đơi, vầng trăng thống khoảng trời đó, lấp đầy vết nứt tốc đó; mặt trăng tròn đỏ nhƣ máu bị che khuất nửa (14a) dreamt I lay in the red-room at Gateshead‖ (15a) the red moreen curtain nearly close, I was shrined in double retirement (16a) The crimson curtain before the arch: slight as was the separation this drapery formed from the party in the adjoining saloon… (17a) A ridge of lighted heath, alive, glancing, devouring, would have been a meet emblem of my mind when I accused and menaced Mrs Reed: the same ridge, black and blasted after the flames are dead, would have represented as meetly my subsequent condition, when half an hour‘s silence and reflection had shown me the madness of my conduct, and the dreariness of my hated and hating position (18a) stood the same black column which had frowned on me so ominously from the hearthrug of Gateshead (19a) I looked up at – a black pillar! – such, at least, appeared to me, at first sight, the straight, narrow, sable-clad shape standing erect on the rug (20a) My dear children,‖ pursued the black marble clergyman, with pathos,… (21a) I wish I could forget the roll of the red eyes and the fearful blackened inflation of the lineaments (22a) days of blue sky…it became all green (23a) My eye passed all other objects to rest on those most remote, the blue peaks; it was those I longed to surmount, exile limits (24a) green fields (25a) as the sun shone in between the gray blue chintz window curtains (26a) It was a very grey day (14b) tơi mơ thấy nằm phịng đỏ Gateshead (15b) rèm cửa sổ dày màu đỏ có họa tiết nổi, tơi có nơi ẩn náu ngăn cách với họ đến hai lần (16b) Từ vịm cửa , rèm màu đỏ tía rủ xuống tạo phân cách mỏng manh với phòng tiệc bên cạnh (17b) ― Hình tượng phù hợp để mơ tả tâm trí tơi bị kết tội hăm dọa bà Reed đỉnh đồi hoa thạch nam cháy rưc, lóa sang tàn phá ; đỉnh đồi sau lửa tắt trở nên đen kịt tan hoang, biểu tượng xác cho tâm trạng sau nửa lặng lẽ nghiền ngẫm nhận thức cách hành xử điên rồ vị buồn thảm vừa ghét bỏ người khác lại vừa bị người khác ghét bỏ (18b) đứng cạnh bên Temple cột đen thui nhíu mày với tơi đầy vẻ hắc ám thảm trước lò sưởi dinh thự Gateshead (19b) Tơi ngước nhìn lên…một cột nhà cháy! Ít nhìn tơi thấy hình thù thẳng đuột, dẹp lép, phủ màu đen từ đầu đến chân dựng đứng mặt thảm… (20b) Các trị u q,‖ ơng mục sư trơng cột đá cẩm thạch đen trũi (21b) đơi trịng mắt đỏ ngầu trợn trừng đường nét dữ, tím đen,sưng phồng đáng sợ khuôn mặt (22b) ngày bầu trời xanh trong…chỗ tàn sắc xanh (23b) Tơi phóng tầm mắt qua tất cảnh vật khác để dừng lai điểm xa nhất, đỉnh núi màu lam; tơi mong có ngày vượt qua đỉnh núi (24b) cánh đồng xanh mƣớt‖ (25b) Khi ánh nắng chiếu vào qua khe hở rèm cửa sổ may vài hoa xanh sắc sỡ (26b) Đó ngày cự kì u ám (36a) This, sir, was purple (37a) I recognized well that purple face (27b) Mộ chị nằm nghĩa trang thánh đường Brocklebridge: mười lăm năm sau đó, gị đất xanh, người ta dựng bia cẩm thạch màu xám, khắc tên chị chữ ― Resurgam (28b) Tơi thích ngày hơm nay, tơi thích bầu trời màu xanh ánh thép; yêu nghiêm nghị tĩnh lặng giới tình trạng bang Tơi u Thornfield , khơng khí cổ kính, an nhàn, rặng có bầy quạ làm tổ, gai, mặt tiền màu xám tòa nhà, dãy cửa sổ âm u phản chiếu bầu trời màu xám (29b) váy cô mặc hợp mốt thời đó, may vải tím thẫm đáp diềm nung đen kiểu Tây Ban Nha (30b) ghế rèm cửa màu tím‖ (31b) bình đá bang lan màu tím rực rỡ (32b) cửa sổ rèm màu tím Tyrian‖ ― chùm nho nho trắng ngần , bên trường kỉ ghế đôn bọc nệm màu đỏ thẫm tương phản hoàn toàn‖ (33b) pha lê Bohemia màu hông ngọc; gương soi lớn treo ô cửa sổ phản chiếu pha trộn hai sắc màu tuyết lửa (34b) lửa lớn cháy đỏ rực lò sưởi, rèm màu tím sang trọng (35b) váy cưỡi ngựa màu tím thầm cơ‖ (36b) Thưa ơng, khn mặt tím ngắt (37b) Tơi nhận mặt tím bầm (38a) I surveyed the grounds laid out like a map: the bright and velvet lawn closely girdling the grey base of the mansion; the field, wide as a park, dotted with its ancient timber; the wood, dun and sere , divided by (38b) Đứng dựa vào lỗ châu mai phóng tầm mắt xa xuống mặt đất, tơi nhìn ngắm dải đất trải đổ: thảm cỏ xanh mơn mởn viền sát chân tường màu xám dinh thự; cổ thụ lác đác (27a) Her grave is in Brocklebridge churchyard: for fifteen years after her death it was only covered by a grassy mound; but now a grey marble tablet marks the spot, inscribed with her name, and the word ― Resurgam‖ (28a) I like this day; I like that sky of steel; I like the sterness and stillness of the world under this frost I like Thornfield, its antiquity, its retirement, its old crow trees and thorn trees, its grey faỗade, and lines of dark windows reflecting that metal welkin (29a) her dress, also in the mode of the day, was of purple cloth, relieved by a sort of Spanish trimming of black velvet (30a) purple chairs and curtains (31a) some vases of fine purple spar (32a) the window, and like it with a Tyrian-dyed curtain‖ ―white grapes and vine leaves, beneath which glowed in rich contrast crimson couches and ottomans (33a) sparkling Bohemian glass, ruby red; and between the windows large mirrors repeated the general blending of snow and fire (34a) the large fire was all red and clear; the purple curtains (35a) her purple riding-habit cánh đồng bát ngát ; khu rừng ngả màu nâu xám héo úa bị phân chia lối rêu mọc tràn lan, xanh vòm lá; thánh đường trước cổng , đường, đồi yên ả, quạnh hiu, tất nghỉ ngơi ánh nắng thu; đường chân trời màu thiên đầy hứa hẹn, với dải mây màu trắng ngọc trai trông vân cẩm thạch (39a) Out of these deep surrounding shades (39b) Giữa bóng đen thẫm rose high, and glared white, the piled-up đống đồ đạc đống nệm chăn gối mattress and pillows of the bed, spread chồng cao, trắng toát , vải phủ giường hàng with a snowy Marseilles counterpane Marseilles trắng nhƣ tuyết (40a) I traced the white road winding (40b) Tơi nhìn theo đường trắng uốn round the base of one mountain , and lượn quanh chân núi hút vanishing in a gorge between two; how I vào hẻm núi , tha thiết longed to follow it farther xa đường a path visibly overgrown, greener with moss than the trees were with foliage; the church at the gates, the road, the tranquil hills, all reposing in the autumn day‘s sun; the horizon bounded by a propitious sky, azure, marbled with pearly white APPENDIX 2: Sentimental expressions containing colours extracted from The Great Gatsby and its translated version ORIGINAL VERSION (1a) I bought a dozen volumes on banking and credit and investment securities, and they stood on my shelf in red and gold like new money from the mint… (2a) Across the courtesy bay the white palaces of fashionable East Egg glittered along the water,…‖ (3a) Their house was even more elaborate than I expected, a cheerful red-and-white Georgian Colonial mansion, overlooking the bay (4a) The front was broken by a line of French windows, glowing now with reflected gold and wide open to the warm windy afternoon (5a) The windows were ajar and gleaming white TRANSLATIONAL VERSION (1b) Tôi mua khoảng chục sách nói cơng việc ngân hàng, tín dụng chứng khoán đầu tư Những sách thành hàng đỏ rực vàng chóe giá sách tơi đồng tiền toanh vừa đúc (2b) Ở mé bên vịnh nhỏ xíu, dinh thự trắng toát làng East Egg sang trọng lung linh bên bờ nước (3b) Nơi họ tòa nhà tòa nhà lộng lẫy q chờ đợi tơi: tịa lâu đài theo kiến trúc Georgian thuộc địa với màu trắng màu đỏ vui mắt, trông xuống mặt vịnh (4b) Những cửa sổ lấp lánh ánh phàn chiếu vàng bạc mở rộng để đón buổi chiều nóng nực lộng gió (5b) Các cánh cửa sổ mở hé, trắng lấp lánh (6a) They were both in white (7a) Her gray , sun-strained eyes (8a) the autumn-leaf yellow of her hair (9a) a rosy-colored porch (6b) Cả hai mặc đồ trắng (7b) Đôi mắt xám dạn nắng Jordan Baker (8b) mái tóc vàng rực mầu thu người đàn bà‖ (9b) hàng hiên phơn phớt hồng (10b) Đôi Daisy Baker nói lúc, nói cách kín đáo, lửng lơ , cợt nhả , không đến chỗ huyên thuyên mà lời mát lạnh tà áo trắng đôi mắt trống rỗng không chứa đựng ham muốn hết họ (11a) From Louisville Our white girlhood (11b) Người Louisville Hai chúng em was passed together Our beautiful white sống tuổi thơ ấu trắng bên Tuổi thơ ấu trắng đẹp đẽ (12a) I love to see you at my table, Nick (12b) Em thích có anh ăn cùng, anh You remind me of a – of a rose, an Nick Anh làm em nghĩ đến… absolute rose hồng, hồng (13a) Involuntarily I glanced seaward — (13b) Bất giác tơi nhìn phía biển and distinguished nothing except a single khơng thấy ngồi đốm green light, minute and far away, that sáng xanh đơn độc, nhỏ xíu xa tít, có might have been the end of a dock‖ thể đầu bến thuyền (14a) You always have a green light that (14b) Chỗ nhà em lúc có burns all night at the end of your dock đốm sáng xanh, sáng suốt đêm đầu bến thuyền (15a) Gatsby believed in the green light, (15b)Gatsby tin vào đốm sáng màu the orgastic future that year by year recedes xanh ấy, tương lai hoan lạc before us năm rời xa ta (16a) ―a valley of ashes‖ (16b) ― vùng thung lũng bị ― where ashes take the forms of houses and chìm ngập lớp bụi dày xám tro‖ chimmneys and rising smoke‖ ―nơi tro mang khói tỏa từ ― a line of gray cars‖ ống khói ấy‖ ― the ash-gray men‖ ― đoàn tàu với toa tầu xám ― above the gray land‖ xịt‖ ― the valley of ashes‖ ― người xám ngoét‖ ― bên mảnh đất xám xịt‖ ― thung lũng tro‖ (17a) The eyes of Doctor T.J Eckleburg (17b) Đó cặp mắt xanh khổng lồ are blue and gigantic bác sĩ T.J Eckleburg (10a) Sometimes she and Miss Barker talked at once, unobtrusively and with a bantering inconsequence that was never quite chatter, that was as cool as their white dresses and their impersonal eyes in the absence of all desire (18a) Her face, above a spotted dress of dark blue crepe-de-chine, contained no facet or gleam of beauty, but there was an immediately perceptible vitality about her as if the nerves of her body were continually smouldering (19a) She has changed her dress to a brown figured muslin (20a) Mrs Wilson had changed her costume some time before, and was now attired in an elaborate afternoon dress of creamcoloured chiffon, which gave continual rustle as she swept about the room (21a) In his blue gardens men and girls came and went likes moths among the whisperings and the champagne and the stars (22a) Dressed up in white flannels I went over to his lawn a little after seven (23a) Yet over the city our line of yellow windows (24a) yellow cocktail music (25a) It was a rich cream color (26a) his caramel-coloured suit (27a) Sitting down behind many layers of glass in a short of green leather conservatory, we started to town‖ (28a) I put my arm around Jordan‘s golden shoulders (29a) She dressed in white, and had a little white roadster (30a) Gatsby,in a white flannel suit, silver shirt, and gold –colored tie (31a) We went up stairs, through period bedrooms swathed in rose and lavender silk and vivid with new flowers (32a) shirts with stripes and scrolls and plaids in coral and apple-green and (18b) Bà ta mặc áo kếp màu xanh thẫm chấm hoa, khn mặt khơng có nét gọi đẹp, nhận ran gay sức sống hừng hực người ba ta thể dây thần kinh thân bà lúc nóng rực (19b) Bà ta thay áo, mặc áo mút-xơ-lin hoa nâu (20b) Myrtle Wilson thay quần áo Bây bà ta mặc kiểu áo cầu kì may thứ sa màu kem, kêu sột soạt bà ta lướt thướt áo lại phòng (21b) Trong khu vườn màu thiên Gatsby, đàn ông đàn bà nườm nượp người đến kẻ đám bướm đêm tiếng thầm, rượu sâm panh sao.‖ (22b) Trong đồ nỉ trắng, đặt chân lên khu vườn Gatsby vào lúc bẩy chút (23b) Tuy nhiên dãy cửa sổ với ánh đèn vàng chúng tôi‖ (24b) điệu nhạc vàng‖ (25b) Chiếc xe sơn màu vàng kem‖ (26b) quần áo màu kem trứng‖ (27b) Ngồi sau nhiều lớp kính trơng nhà kính ƣơm bọc da, chúng tơi cho xe chạy thành phố (28b) quàng tay lên bờ vai vàng óng Jordan (29b) Chị mặc đồ màu trắng , có xe nhỏ mui trần hai chỗ màu trắng‖ (30b) Gatsby comle nỉ trắng, sơ mi màu trắng bạc ca vát vàng (31b) Chúng lên gác qua phòng ngủ bày biện theo thời xưa, phủ lụa hồng lụa tím nhạt, tưới tắn với bơng hoa hái‖ (32b) áo kẻ sọc, kẻ hoa, kẻ ô màu san hô, màu thiên thanh, màu lavender and faint orange, and monograms of Indian blue‖ (33a) There was a pink and golden billow of foamy clouds above the sea (34a) I‘d like to just get one of those pink clouds and put you in it and push you around‖ (35a) It was James Gatz who had been loafing along the beach that afternoon in a torn green jersey and a pair of canvas pants (36a) The gray windows disappeared as the house glowed full of light (37a) The breeze stirred the gray haze of Daisy‘s fur collar (38a) they came to a place where there were no trees and the sidewalk was white with moonlight (39a) I went with them out to the veranda On the green Sound, stagnant in the heat, one small sail crawled slowly towards the fresher sea Gatsby/eyes followed it momentarily; he raised his hand and pointed across the bay (40a) Slowly the white wings of the boat moved against the blue cool limit of the sky‖ (41a) He wears a pink suit (42a) In the sunlight, his face was green (43a) I looked at the house; there were two or three bright windows down-stairs and the pink glow from Daisy‘room on the second floor.‖ (44a) Wilson‘s glazed eyes turned out to the ashheaps, where small gray clouds took on fantastic shape and scurried here and there in the faint dawn wind (45a) it was dawn now on Long Island and we went about opening the rest of the ngọc xám màu da cam nhạt , thêu chữ lồng màu xanh hồ thủy (33b) cuộn mây hồng vàng óng lơ lửng mặt biển‖ (34b) Em muốn với lấy cuộn mây hồng kia, đặt anh lên đẩy khắp nơi‖ (35b) Anh trai mặc áo thun xanh rách, chân giày vải, lúc tha thẩn bên hồ James Gatz (36b) Các ô cửa sổ xam xám tan biến tòa nhà chan hòa ánh sáng (37b) Một gió nhè nhẹ lay động lớp tuyết xam xám khan quàng long thú Daisy (38b) Họ tới nơi vắng bóng hè đường lênh láng ánh trăng trắng xóa‖ (39b) Tơi với họ hàng hiên Trên Eo biển xanh lè với mặt nước tù đọng nóng, cánh buồm nhỏ bị chầm chậm phía biển khơi mát mẻ Gatsby nhìn theo cánh buồm lát Anh giơ tay lên, sang bên vịnh‖ (40b) Cánh buồm trắng chầm chậm di chuyển ranh xanh mát bầu trời‖ (41b) Thằng cha mặc quần áo màu hồng phấn (42b) Ra nắng, mặt ông ta trông xanh lè‖ (43b) tầng có hai ba cửa sổ sáng đèn buồng Daisy tầng hai sáng mờ mờ hồng hồng (44b) Cặp mắt trân trân Wilson quay phía gị đất màu tro, cụm mây xám nhỏ có hình dáng kì qi bị gió yếu ớt buổi sớm mai xua tan tác (45b) Long Island trời rạng, mở nốt cửa sổ tầng windows down-stairs, filling the house with gray-turning , gold-turning light The shadow of a tree fell abruptly across the dew and ghostly birds began to sing among the blue leaves (46a) We all looked- the knuckles was black and blue (47a) the inevitable swimming party had run up, chilled and exalted from the black beach ánh sáng chỗ nhờ nhờ xám, chỗ hoe hoe vàng ùa vào nhà Bóng thân ngả dài cắt ngang lớp sương đêm chim bóng ma bắt đầu cất lên tiếng hót đám nhuốm màu xanh lam (46b) Tất chúng tơi nhìn: khớp đốt ngón tay bị tím bầm (47b) đám người tắm biển thường ngày, lạnh cóng thích thú, từ bãi biển đen ngịm chạy lên ... reasons 4.1 Sentimental expressions containing colours in the two English novels and their Vietnamese translated versions 4.1.1 Sentimental expressions containing colours in Jane Eyre and its Vietnamese. .. UNIVERSITY OF DANANG UNIVERSITY OF FOREIGN LANGUAGE STUDIES LƢƠNG THỊ THẢO NGUYÊN A COGNITIVE STUDY OF SENTIMENTAL EXPRESSIONS CONTAINING COLOURS USED IN ENGLISH AND VIETNAMESE NOVELS Major: ENGLISH LINGUISTICS... viewpoints of cognitive linguistics in English and in Vietnamese From that we can find out the underlying reasons in the similarities and dissimilarities between sentimental expressions containing