Master minor programme thesis English teaching methodology: Translation procedures applied in the English - Vietnamese translation of the conceptual metaphors in the novel “The call of the wild”

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES & INTERNATION STUDIES FACULTY OF POST-GRADUATE STUDIES

NGUYỄN TUẤN MINH

TRANSLATION PROCEDURES APPLIED IN THE ENGLISH-VIETNAMESE TRANSLATION OF THE CONCEPTUAL METAPHORS IN THE NOVEL “THE CALL OF THE WILD” (Các thủ thuật được áp dụng trong việc dịch Anh-Việt ẩn dụ ý niệm trong tiểu thuyết “Tiếng gọi nơi hoang dã”) M.A MINOR PROGRAM THESIS Field: English Linguistics

Code: 8220201.01

HANOI – 2019

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES & INTERNATION STUDIES FACULTY OF POST-GRADUATE STUDIES

NGUYỄN TUẤN MINH

TRANSLATION PROCEDURES APPLIED IN THE ENGLISH-VIETNAMESE TRANSLATION OF THE CONCEPTUAL METAPHORS IN THE NOVEL “THE CALL OF THE WILD” (Các thủ thuật được áp dụng trong việc dịch Anh-Việt ẩn dụ ý niệm trong tiểu thuyết “Tiếng gọi nơi hoang dã”) M.A MINOR PROGRAM THESIS

Field: English Linguistics Code: 8220201.01 Supervisor: Dr. Huỳnh Anh Tuấn

HANOI – 2019

DECLARATION

I hereby declare that this thesis represents my own work and has not been previously included in a thesis or dissertation submitted to this or any other institution for a degree, diploma or other qualifications.

Signature

Nguyen Tuan Minh

June, 2019

ACKNOWLEDGEMENTS

First of all, I would like to express my sincere thanks to Dr. Huỳnh Anh Tuấn,

my teacher and supervisor, whose inspiring and full-of-fun lectures on Cognitive

Linguistics and conceptual metaphors had given me inspirations to choose and keep

working on this research. Also, he provided me with useful advice on research

direction and encouragement during the work.

Also, I am extremely grateful to Ms. Vương Thị Thanh Nhàn, lecturer of

Translation & Interpreting Division, Faculty of English Teacher Education, ULIS,

VNU, whose paper on the translation procedures and equivalence on Quan họ terms

had enlightened me on my research goals and who had kindly offered me invaluable

advice and materials on translation equivalence and metaphor translation.

My deep appreciation also goes to my father, my mother and my younger

brother who provided me with money, food, care and encouragement while I was

totally devoted to reading materials and writing this paper.

iii

ABSTRACT

The translation of conceptual metaphor from English to Vietnamese has been

largely ignored. In the world, some studies have dealt with the treatment of conceptual

metaphors from Arabic to English and from Russion into English, etc. However, no

studies on the English-Vietnamese translation of conceptual metaphors can be found.

Therefore, this paper examines some conceptual metaphors available in the novel “The

Call of the Wild” and the translation procedures used to translate them from English to

Vietnamese. Based on the conceptual theory of metaphors proposed by Lakoff and

Johnson (2003), a number of conceptual metaphors have been uncovered in the English

versions such as DOGS/WOLVES ARE HUMAN, NATURE IS A HUMAN

BEING/AN ANIMAL, TIME IS A MOVING OBJECT, STATES ARE LOCATIONS,

etc. together with some 230 linguistic realizations. After that, based on the adapted

analytical framework on the translation procedures of conceptual metaphors proposed

by Al-Harrasi (2001), the study found various translation procedures, including

keeping the same conceptual metaphor, using another conceptual metaphor, deleting

the conceptual metaphor, and converting the conceptual metaphors.

Keywords: conceptual metaphors, translating conceptual metaphor, translation

procedures

TABLE OF CONTENTS

DECLARATION ........................................................................................................... ii

ACKNOWLEDGEMENTS ......................................................................................... iii

ABSTRACT ................................................................................................................... iv

TABLE OF CONTENTS ............................................................................................... v

LIST OF FIGURES .................................................................................................... vii

CHAPTER I: INTRODUCTION ................................................................................. 1

1. Rationale .................................................................................................................. 1

2. Aims and objectives ................................................................................................ 3

3. Research method ..................................................................................................... 3

4. Scope of the study ................................................................................................... 4

5. Significance .............................................................................................................. 4

6. Structural organization of the thesis ..................................................................... 5

CHAPTER II: LITERATURE REVIEW.................................................................... 6

1. Metaphors and conceptual metaphors ................................................................. 6

1.1. Traditional view of metaphors ........................................................................... 7

1.2. The conceptual metaphor in the cognitive view ................................................ 9

2. Conceptual metaphors in literature .................................................................... 18

3. Translation and translation procedures ............................................................. 19

3.1. Translation ........................................................................................................ 19

3.2. Translation procedures ..................................................................................... 20

3.3. Translation of metaphors and conceptual metaphor ........................................ 25

3.4. Previous studies ................................................................................................ 25

CHAPTER III: METHODOLOGY ........................................................................... 27

1.Research questions ................................................................................................. 27

2. Description of data ................................................................................................ 27

3. Data collection and data analysis procedures .................................................... 28

4. Methods of the study ............................................................................................ 28

5. Analytical framework ........................................................................................... 29

CHAPTER IV: FINDINGS AND DISCUSSIONS ................................................... 33

1. The conceptual metaphors and their linguistic manifestations in the novel ... 33

1.1. Knowledge-based metaphors ........................................................................... 33

1.2. Image-schema metaphors ................................................................................. 40

2. The procedures applied in translating the conceptual metaphors ................... 41

2.1. Keeping the same conceptual metaphor ........................................................... 42

2.3. Using a different metaphor ............................................................................... 44

2.4. Converting the conceptual metaphor ................................................................ 44

2.5. Deleting the expression of the metaphor .......................................................... 45

3. Discussion .............................................................................................................. 45

CHAPTER V: CONCLUSION .................................................................................. 48

1. Recapitulation of main ideas................................................................................ 48

2. Implications ........................................................................................................... 49

3. Limitations ............................................................................................................. 50

4. Suggestions for further research ......................................................................... 51

REFERENCES ............................................................................................................. 52

APPENDIX ..................................................................................................................... 0

LIST OF FIGURES

Figure 1: Percentage of translation procedures……………………………41

vii

CHAPTER I: INTRODUCTION

This chapter presents the reason for choosing the research topic and highlights

the purposes and the methods of the study. Also, the structure and the scope of the

research are also discussed.

1. Rationale

The world today has been much closer together thanks mostly to the advances of

technology that has helped bridge the great physical distance that seems at first

daunting between different places in the world. Besides, it would be a great mistake to

ignore the crucial role taken by translation, the key player that bring people spiritually

and emotionally closer, by boosting the understanding among cultures, “aiding the

understanding of an increasingly fragmentary world” (Bassnett, 2002).

The cultural aspects of translation have been a constant emphasis in translation

(Bassnett, 2002). Normally, when thinking about the relationship between culture and

translation, one may immediately think of cultural words, which are particularly

associated with a particular language and cannot be translated literally (Newmark,

1988) and wonders how these culture-rich concepts can be rendered into the target

language. Therefore, not surprisingly, a large body of research in translation study has

been dedicated to this area. It does not take one much time to search for a few studies

on translation of culture-specific terms. To name a few, Hapsari and Setyaningsih

(2013) in their study “Cultural Words and the Translation in Twilight” worked with

100 cultural words related to food, house, artifacts, transportation, clothes,

communication such as “madrone trees”, “pelicans”, “crib” and “ravioli”, etc, and

various translation procedures applied to render these terms into Indonesian. Nhàn

(2015) studied the translation procedures in translating terms used in “Quan họ”, a

traditional way of singing and performing songs in Bắc Ninh, a northern province of

Vietnam. In this research, she discussed a great number of cultural words, their

translation procedures and their equivalents such as “áo the”, “khăn xếp”, “liền anh”,

“liền chị”, “hát thờ”, “hát canh”,etc.

However, another equally important part in culture but often ignored in

translation is the pattern of thoughts and ways in which people of different cultures

categorize things. A famous theory that summarizes the relationship between

languages, thought and culture is the Sapir-Whorf hypothesis. Proposing the idea of

linguistic determinism, Sapir and Whorf argue that language determines thought and

language is a reflection of culture (Yule, 2006).

Therefore, under the light of cognitive linguistics, there is something more than

just cultural terms. Evan and Green (2006) maintained that patterns of thought or

conceptualization are reflected in language. Different groups of people (different

cultures), speaking different languages have their own ways of understanding,

perceiving and construing their physical environment around them and other

experiences. In other words, each culture will perceive and understanding reality in

different ways or thought is also a product of culture.

“The metaphor is probably the most fertile power possessed by man” (Jose

Ortega y Gasset, 1948). Metaphors have long been a focal interest for the academic

world and widely studied from many perspectives, including traditional views,

philosophers’ view and cognitive view, etc. Studying metaphors from the cognitive

approach and their translations will present certain benefits and new insights as the

conceptual metaphor, with its basis in basic physical, physiological and cultural

experience of human beings, serves as a powerful tool in revealing these differences in

the thinking patterns, allowing the possibility of examining and comparing different

ways of construing reality of different groups of people.

To some degree, conceptual metaphors have some properties that are the same

as cultural words. Although sometimes, two cultures share the same expressions, most

of the time, the expression in a particular language is culture-specific. For example,

there are numerous “cultural thoughts” in the English language such as THE SUN IS A

HUMAN (the sun-kissed valley) or STATES ARE LOCATIONS (they went from bad

to worse) (phrases taken from The Call of the Wild). What does a translator, as a

traveler from one source to another (Michel Cronin, cited in Bassnett, 2002), do when

they work with such metaphors/images? Do they keep the same metaphors; create a

new metaphor or what else?

2. Aims and objectives

The overall purpose of this study is to investigate the treatment of conceptual

metaphor, in other words, the translation procedures used to translate the conceptual

metaphors in the novel “The Call of the Wild”from English to Vietnamese.

To achieve this aim, the following objectives are set: (1) identifying the

conceptual metaphors present in the English novel and their linguistic expressions; (2)

comparing the conceptual metaphors in the English source text and the Vietnamese

target text to reveal the translation procedures used.

3. Research method

This research adopts both qualitative and quantitative methods to achieve the desired

outcomes. First, basing on the description offered by Lakoff and Johnson (2003) on

conceptual metaphor, the paper investigates the English version to identify the

conceptual metaphors available and their linguistic manifestations. After that, based on

the adapted framework by Al-Harrasi (2001), the Vietnamese translations of these

linguistic realizations are examined and compared to the source text to reveal what

translation procedures are adopted to deal with those conceptual metaphors. Next,

quantitative research method will be applied to reveal which translation procedures are

the most used.

This research aims at answering two questions:

1. What are the conceptual metaphors and their linguistic manifestations in the

English novel “The Call of the Wild”?

2. What translation procedures are applied in translating the conceptual

metaphors from English to Vietnamese?

Research question 1 aims at identifying the conceptual metaphors in the English

novel and their linguistic realizations. Based on the results in question 1, question 2 is

devoted to deal with the issue of translation procedures.

4. Scope of the study

This study closely examines all the seven chapters in the English adventure

novel “The Call of the Wild” by the American writer, Jack London to list some

conceptual together with their linguistic evidence. This study classifies the conceptual

metaphors, by their nature, into knowledge-based and image-based metaphors. In

image-based metaphors, there are two sub-types, image-schema and image metaphors.

This paper focuses on knowledge-based and image-schema metaphors only.

This paper deals only with the translation procedures applied to treat the

conceptual metaphors in the process of translation from English to Vietnamese. In

other words, this study does not aim at making systematic quality assessments on the

translation quality but only discusses and argues on the treatment of conceptual

metaphors in translation when the translator moves between the two modes of thinking.

5. Significance

Normally, when conducting research in conceptual metaphors, one is likely to

examine only one type in depth, for example, LOVE IS A JOURNEY. However,

adopting the cognitive approach to the study of metaphors, this research investigates a

wide range of conceptual metaphors that underlie the language expressions in the novel

“The Call of the Wild”. Furthermore, the paper hopes to contribute to the large

reservoir of translation research by approaching translation from the view of cognitive

linguistics, which is still under-researched compared to other approaches to the study

of metaphor in general. Hopefully, this paper will be beneficial to students, teachers

and translators who are interested in looking at metaphors from the cognitive

perspective, especially in a single work of literature. Finally, this paper is an attempt to

investigate the translation procedures adopted to deal with the conceptual metaphor

during the translation process from English to Vietnamese. Therefore, it is extremely

useful for those who have the intention of developing their own procedures that are

peculiar to the English - Vietnamese translation of conceptual metaphors.

6. Structural organization of the thesis

This paper is organized into five chapters. Chapter I is responsible for

introducing the research gap and the problems the research set out to solve and the

possible contributions. Chapter II provides the theoretical foundation for the paper by

bringing many approaches to the study of metaphors into discussion, placing the

arguments against other theories of metaphors made by cognitive linguists at the

center. Besides, the writer will review some related studies in this chapter. Chapter III

presents the methods for collecting, analyzing data for this research. Chapter IV is

reserved for the discussion of results and findings by presenting the answers for the

two research questions made at the beginning, together with its implication. Finally,

Chapter V, Conclusion, summarizes the main findings and arguments in this study,

highlighting some of its limitations and proposes some suggestions for further research.

CHAPTER II: LITERATURE REVIEW

The following chapter deals with the theoretical background of this research. It

provides the conceptual grounds of metaphors, conceptual metaphors and some related

issues in translation such as translation procedures used for metaphors. Besides, some

previous works on conceptual metaphor translation are also discussed.

1. Metaphors and conceptual metaphors

The issue of metaphor has been a constant concern for centuries. Galperine

(1981) states that metaphors have been discussed since the time of ancient Greek and

Roman literature, resulting in the definition of metaphor as a transference of meaning

from one word to another. Furthermore, Jakel (1997) also maintains that “For about

three hundred years now, various, mostly European philosophers and linguists have

been anticipating the central tenets and findings of the cognitive theory of metaphor”.

“What’s a metaphor?” sometimes becomes a difficult question, even to scholars.

A somewhat amusing anecdote told by Glucksberg (2001) about a professor, Ray

Gibbs, going to a conference on metaphors in Israel, when questioned by a check-in

security guard what a metaphor is. Failing to answer the question immediately, he got

into one-hour interrogation at the airport before rescued by an Israeli conference host.

According to Oxford Dictionary (1996), the word “metaphor” comes from the

Greek “Metapherein”, which means “to transfer” (“pherein means “to bear”). From that

simple definition, metaphors have come to mean many different things for many

different people. Linguists, psychologists and philosophers may define metaphors in

their own ways.

The Oxford Dictionary (1996) presented the definition of metaphors with two

senses. The first sense considers metaphor as a figure of speech in which a name or a

word is transferred to an object or action different from, but analogous, that to which it

is literally applicable. The second sense regards metaphors as a form of conceptual

representation: “A thing considered as representative of some other (usually abstract)

thing: A symbol.” In general, most of the contemporary metaphor definitions address

these two senses from different aspects, either as a linguistic expression and a means of

communication or as a conceptual representation (Glucksberg, 2001).

Traditionally, metaphor is considered a figure of speech, just like simile, or in

other words, a matter of mere language. Philosophers think language is literal. Some

scholars think that the nature of metaphor is just presenting and matching similarities in

attributes of two different things. It is widely believed so until George Lakoff and Mark

Johnson published their book “Metaphors We Live By” in 1980, in which they proved

that metaphor is not only a linguist issue but an important apparatus of human

understanding and cognition. Since then, this view has been supported by numerous

scholars such as Croft and Cruse (2004), Kovecses (2002), etc. The following section

will present and discuss some common approaches to the study of metaphor, including

the traditional view and the modern approach of cognitive linguistics.

1.1. Traditional view of metaphors

According to Glucksberg (2001), Aristotle, one of the most ancient figure who

elaborated on the study of metaphor, in his work “Poetics” (Chapter 21) proposed four

types of metaphor, genus for genus, genus for species, species for genus and analogy.

The common nature shared by the first three types of metaphors is that they involve

substituting one word for another. An example of the genus for genus type is “Some

lawyers are sharks”. Here, the word “sharks” is used instead of a word from the same

semantic domain, genus, as “lawyers”.

Ma & Liu (2008), in their paper “A universal approach to metaphors”, discussed

many approaches to metaphor, including several prominent scholars in this field.

Beardsley (1966) considered metaphor a fascinating phenomenon in language and

metaphors are not only present in poetic works. According to him, metaphor has both

denotative meaning and connotative meaning.

For example, in the sentence “The animal in the pen is a pig”. Here “pig” gives

a literal sense (denotation) of an animal with four legs and a long nose. However, the

word “pig” in another situation, such as “The man over there is a pig” has something

more than the literal meaning. “Pig” in the second sentence is interpreted

metaphorically (denotative meaning): The man is fat, dirty, lazy and so on.

Compared to Beardsley, Richards (1967) presented a more profound analysis of

metaphor. In his paper called “The Command of metaphors”, he argued that the nature

of metaphor requires the comparison of more than two objects. He also put forward the

two terms for understanding the mechanism of metaphor: tenor and vehicle. A tenor is

the term, concept, or object that is meant while a vehicle is a thing that carries the

weight of the comparison. For example, in the metaphor “A city is a beehive”, “city”

is the tenor and “beehive” is the vehicle. Moreover, in this paper, Richards also

maintained that a word can be both literal and metaphorical at the same time. For

example, “The man has a wooden leg”. Here, “the wooden leg” can be understood as a

real physical condition in reality that the man has to suffer from or it can be interpreted

metaphorically as a failure to perform some job properly as expected, for example.

Searle saw metaphor as a type of indirect communication and metaphorical

sense comes from an expression in a specific linguistic and situational context, and

therefore, metaphors should be considered at the level of utterance: “The problem of

explaining how metaphors work is a special case of the general problem of explaining

how speaker meaning and sentence or word meaning come apart…Our task in

constructing a theory of metaphor is to try to state the principles which relate literal

sentence meaning to metaphorical [speaker’s] utterance meaning“ (Searle (1975). To

him, it depends on the listener whether to understand an utterance literally or

metaphorically and metaphorical interpretation of an utterance requires the application

of conversation principles and speech act theory.

Among the various definitions provided by the scholars who subscribe their

views to the traditional approach, two summaries of this long-establishing strand of

metaphor provided by two eminent cognitive linguists, George Lakoff and Kovecses,

have captured them all. To set a ground before criticizing the traditional approach to

metaphor, Lakoff (1992) pointed out that “The word metaphor was defined as a novel

or poetic linguistic expression where one or more words for a concept are used outside

of its normal conventional meaning to express a similar concept”.

Kovecses (2002) also summarized the conventional attributes of metaphor. First,

metaphor is simply a matter of language, not of thought. Second, metaphor is used for

artistic and rhetorical purposes. Third, metaphor is based on resemblances between two

entities that are compared and identified. Fourth, metaphor is a deliberate use of words

and the ability requires special talents to do it well. Finally, it is commonly held that

metaphor is a linguistic phenomenon, a figure of speech that we can do without.

Metaphor is used for special effects and not an inevitable part of everyday

communication.

1.2. The conceptual metaphor in the cognitive view

1.2.1. What counts as a conceptual metaphor?

Cognitive linguistics, a new linguistic field which can be traced back in the

early 1970s (Evan & Green, 2006), is an interdisciplinary enterprise because it involves

both the study of human language and of the human mind. Like other linguistic

scholars, cognitive linguists try to describe the systematicity by providing various

theories. However, the reason behind is that they seek to reveal the links between the

human mind and language, holding a belief that human language reflects the thinking

patterns in the mind (Evan & Green, 2006).

Since Lakoff and Johnson published their influential book “The Metaphor We

Live By” in 1980, the study of metaphor in the direction of cognitive approach has

attracted many followers. In their book, Lakoff & Johnson (2003) clearly presented

their view. To them, metaphor is a powerful tool of human cognition: “The essence of

metaphor is understanding and experiencing one kind of thing in terms of another”

(Lakoff & Johnson, 2003).

This position is also shared by Hurford et.al (2007) in their book on semantics:

“Metaphors are conceptual (mental) operations reflected in human language that enable

speakers to structure and construe abstract areas of knowledge and experience in more

concrete experiential terms” (Hurford et. al, 2007).

According to this approach, to conceptualize an unfamiliar entity or a field of

knowledge, the speaker takes advantage of another already familiar one. The former

one is known as the target domain and the latter one, source domain. Normally, the

source domain is understood through the experience in the physical world and there

exists a conceptual mapping between the source domain and the target domain to help

structure the unfamiliar entity so that the cognitive load will be lessened when humans

are trying to conceptualize something new or unknown to us before (Hurford et. al,

2007). This modern view takes a wider approach that metaphors are not only present in

literary or figurative texts but ubiquitous in our daily life and metaphors do not only

exist in language but also in the human mind in the way we experience, act and think

about a particular topic. Our conceptual system is mainly metaphorical in nature.

(Lakoff & Johnson, 2003).

Kovecses (2010), in agreement with the above-mentioned scholars, gave a

concise definition of conceptual metaphor as understanding one conceptual domain in

terms of another conceptual domain. The conceptual metaphor is represented as the

following formula: CONCEPTUAL DOMAIN A IS CONCEPTUAL DOMAIN B. A

conceptual domain is viewed as any organized experience of human beings such as

life, journey, time, money, etc. The nature of a metaphor in the form of A is B is the

mapping of part of our structure of knowledge from domain A to domain B (Lakoff &

Turner, 1989).

Lakoff & Johnson (2003) gave some typical examples on metaphors are used in

the daily language and how the language shapes people’s ways of thinking.

AN ARGUMENT IS WAR.

- He attacked every weak point in my argument.

- I’ve never won an argument with him.

- Your claims are indefensible.

- His criticisms were right on the target.

Normally, “attack” and “win” usually used when people talk about wars;

however, in these examples, they are utilized to talk about arguments. The analogies

between those two areas enable the speaker to make use of the familiar aspect of one to

describe another. This relationship is called conceptual metaphors. This metaphor

allows humans to understand what an argument is by making use of another domain

that has been already available and satisfactorily understood: physical battle. In the

wild, wars are pervasive because animals, as well as human beings are usually involved

in fights for territory, food, sex, etc. Therefore, our knowledge of fights is rich with

details and this knowledge is transferred or mapped to another domain, less clearly

understood, verbal argument.

In this example, AN ARGUMENT IS WAR is the conceptual metaphor (mode

of thinking) and one of its linguistic expressions is “Your claims are indefensible”. It is

noted that linguistic expressions are not the only means of realizing conceptual

metaphors. In other words, conceptual metaphors can be manifested in movies, acting,

drawings, sculpture, etc. (Kovecses, 2010).

Lakoff and Johnson further analyzed this example by considering a different

culture in which arguing is not viewed with respect to wars but to dance. In the

argument, the participants involved do not see themselves as taking sides, defending

personal viewpoints, losing or winning but cooperating with each other in a balanced

and beautiful way. Therefore, bearing the metaphor (ARGUING is DANCING) in

mind, perhaps, they would think differently, act differently and talk differently about

arguing. In that way conceptual metaphors reflect and shape our pattern of thoughts.

In short, the new view of metaphor is captured by the following main points as

opposed to the traditional method. First, metaphor is a property of concept, not of

words. Second, the major function of metaphor is to better understand a concept, not

just for artistic purposes. Third, metaphor is often not based on similarity. Fourth,

metaphor is used in everyday language, not just by talented people. Fifth, metaphor is a

crucial apparatus of human thought and reasoning (Kovecses, 2010).

1.2.2 The cognitive mechanism of metaphors

Lakoff and Johnson (2003) hold that in conceptual metaphors, there are two

conceptual domains, source domain and the target domain. Source domain is the

domain from which metaphorical understanding is drawn from to understand another

conceptual domain. The target domain is the conceptual domain that is understood via

domain. To understand a conceptual metaphor requires comprehending the set of

correspondences (mapping) between the source domain and the target domain. One

major feature of conceptual metaphor is that it highlights and, at the same time, hides

certain aspects of the target domain. Therefore, one single concept can function as the

target domain of a number of conceptual metaphors. Take the concept of LIFE, for

example. Many conceptual metaphors in which LIFE is the target domain have been

listed by Lakoff & Turner (1989), LIFE IS A JOURNEY, LIFE IS A STAGE, LIFE IS

BONDAGE, LIFE IS A DAY, etc., Each of these metaphors helps to conceptualize one

aspect of life, and therefore, constitutes a coherent system in the understanding of life.

If human thought is metaphorical in nature (Lakoff & Johnson, 2003), is it

possible for one to understand something non-metaphorcially? This question is partly

addressed in the book entitled “More than Cool Reason: A Field Guide to Poetic

Metaphors” by John Lakoff and Mark Turner in 1989. Non-metaphorical terms are not

structured and organized in terms of another but in its own terms. To argue, the two

authors took the example of how human beings understand the concept of dog, which

can be understood non-metaphorically and metaphorically at the same time depending

on which aspects. According to them, the non-metaphorical understanding of dogs

includes human conceptualization of the dog’s physical features such as wagging tails,

wet black nose and so on. However, sometimes, it is possible to comprehend a dog’s

tail metaphorically as a flag, but this metaphor is not common and not autonomous.

Metaphorically, humans understand dogs as being “loyal”, giving a human trait to a

dog. In other words, we conceptualize some aspects of dogs in human terms and this is

metaphorical.

There are certain things that we do not understand metaphorically, things that

human beings think as straightforwardly physical, such as rocks, trees, arms, legs, etc,

because we normally can use our physical body to experience them directly. These

sources often function as the source domain in a conceptual metaphor. Of course, there

are also certain sources of concept that are mostly structured metaphorically by making

use of or referring to other concepts (metaphorical understanding) such as life (LIFE IS

A JOURNEY, LIFE IS A PLAY,...), death (DEATH IS DEPARTURE, DEATH IS

BREAKING FREE OF THE BONDAGE), and time (TIME IS A MOVING OBJECT,

TIME IS A THEIF,...) love (LOVE IS A JOURNEY, LOVE IS SICKNESS,...) and so

on. The reason is that we structure less clearly delineated and vaguer concepts (and

usually less concrete) in terms of more concrete concepts and more clearly delineated

in our experience (Lakoff & Johnson, 2003).

Kovecses (2010) listed some common source and target domains that are often

involved in the creation of conceptual metaphors. Some common source domains are

the human body, health and sickness, plants, heat and cold, light and darkness, forces,

and so on. Some common target domains include emotion, desire, thought, nation,

human relationship, life, death, religion and so on. It is easily noticed from these

common source and target domains that they are in line with the explanation provided

above by Lakoff and Johnson on why some experiences are structured and

comprehended via another. The source domain experience and concepts seem to be

concrete and clearly outlined in our thought or experienced directly by our body while

the concepts in the target domains appear to be vaguer and less clearly delineated.

1.2.3. Kinds of conceptual metaphors

Kovecses (2010) presented certain ways in which conceptual metaphors can be

classified: according to the conventionality, function, nature, and level of generality.

a) By conventionality

According to conventionality, conceptual metaphors together with their

linguistic manifestations can be categorized into conventional and non-conventional

metaphors. Conventionality refers to the degree of how well-established or how deeply

entrenched the metaphors are in every day thought and expressions. If a conceptual

metaphor is said to be highly conventional, people use it to think and talk

unconsciously and without effort. Kovecses (2010) gave the following examples:

ARGUMENT IS WAR: I defended my argument.

LOVE IS A JOURNEY: We’ll just have to go our separate ways.

THEORIES ARE BUILDINGS: We have to construct a new theory.

IDEAS ARE FOOD: I can’t digest all these facts.

SOCIAL ORGANIZATIONS ARE PLANTS: The company is growing fast

Some examples of non-conventional conceptual metaphor mentioned in

Kovecses’s discussion are LOVE IS A COLLABORATIVE WORK OF ART and

LIFE IS A MIRROR.

b) By the cognitive function of metaphors

According to the cognitive function, conceptual metaphors have three

categories: Structural metaphors, ontological metaphors and orientational metaphors.

These three types often overlap and coincide in certain cases.

First, structural metaphors are defined as the metaphors that structure one

concept in terms of another, for example, AN ARGUMENT IS WAR. By employing

the concepts of WAR, the human mind can structure and conceptualize ARGUMENT

to some certain extents.

Second, orientational metaphors “organize the whole system of concepts with

respect to another” (Lakoff & Johnson, 2003). This type of metaphor is called

orientation because they deal with special orientation: up-down, in-out, front-back, on-

off, deep-shallow, and central-marginal. Orientation metaphors give the mind some

hints on how to conceptualize abstract ideas with respect to special directions. For

example, the metaphor “HAPPY IS UP” is the basis for the expression “I’m feeling up

today” or in contrast, “UNHAPPY IS DOWN” gives rise to the sentence “I’m feeling

down today.”

Third, ontological metaphors imply that human mind takes advantage of the

tangible and already in existence and visible to visualize and conceptualize the

intangible and abstract entities, moving the source domain (physical world) to the

target domain (usually the non-physical world).In other words, this type of metaphors

allows us to experience a wide range of invisible things as visible substances and

entities so that the tasks of categorizing, grouping and quantifying can be made

cognitively easy and convenient.

Lakoff and Johnson (2003) give numerous examples on how ontological

metaphors are employed in our daily life to facilitate our cognitive tasks in referring,

quantifying or identifying entities that are not visible or touchable to us.

INFLATION IS AN ENTITY

Inflation is lowering our standard of living.

If there’s much more inflation, we’ll never survive.

c) By nature of metaphors

Metaphors can be based on knowledge or image. By the nature of metaphors,

there are three categories: knowledge-based metaphors and image-based metaphors. In

the latter type, there are two sub-types: image-schema metaphors and image

metaphors.

Knowledge-based metaphors are based on the knowledge mapping from the

source domain to the target domain and the knowledge is very rich in details. For

example, consider the conceptual metaphor LOVE IS A JOURNEY. People experience

and knowledge tell them a lot about what it means by a journey, a starting points, a

path to travel, a destination, a means of transportation, a companion and obstacles on

the way, etc.,

In case of the image-schema metaphor, consider the image schema of in-out

suggested by the word “out” in “out of order”, “ out of money”, “pass out”, and so on.

Very little is mapped from the source to the target domain. This type of metaphor is

based on our direct contact with the physical world. Some more examples of image-

schema metaphors are given by Kovecses (2010):

Image-Schema Metaphorical Extension

in-out I’m out of money.

front-back He’s an up-front kind of guy.

up-down I’m feeling low.

contact Hold on, please. (“Wait”)

motion He just went crazy.

force You’re driving me insane.

Unlike structural and image-schema metaphors, image metaphors (Image-based

metaphor) maps one image to another image. Here is an example cited in More than

Cool Reason by Lakoff & Turner (1989), in which the image of a slowly walking

woman to mapped onto the flow of a river, “Now woman-river, Belted with silver fish”

(The Peacock’s Egg).

The scope of this thesis does not cover image metaphors (as stated in the scope

of the study).

d) By level of generality

According to the level of generality, metaphors can be either at a specific level

or generic level. Specific level metaphors are comprised of specific concepts, which

are rich in details, such as life, death, journey, etc., while generic metaphors are made

of general concepts with a small number of properties. Here are some examples of

these two types of conceptual metaphors given by Kovecses (2010):

Specific level: LIFE IS A JOURNEY, AN ARGUMENT IS WAR, TIME IS A

MOVING OBJECT, etc.

Generic level: EVENTS ARE ACTIONS, GENERIC IS SPECIFIC, etc.

2. Conceptual metaphors in literature

Lakoff & Turner (1989) demonstrated the relationship between ordinary

conceptual metaphors in everyday language with those used in novels and poetries.

They found that most metaphors uncovered in poetries are based on conventional,

ordinary metaphors. However, poets have manipulated these ordinary metaphors in

different ways to generate effects for their works or they rework the metaphors, such as

extending (to include an uncommon element in the source domain), elaborating (to

elaborate a usual element in the source domain in an unusual way), questioning (to

question the appropriateness of conventional metaphors) and combining (to combine

numerous conceptual metaphors at a time).

Besides the creative use of ordinary conceptual metaphors, personification is

also widely employed in literature. Personification allows for the comprehension of a

diversity of experiences with non-human entities in terms of human activities,

characteristics. This example is given by Kovecses (2010, p.56)

TIME IS A PURSUER

But at my back I always hear

Time’s winged chariot hurrying near

(Marvell, “To His Coy Mistress”)

Another characteristic of conceptual metaphors in literature is that the image

metaphor, which brings two images together, is quite common. This type has been

discussed in the section of kinds of conceptual metaphors.

Finally, literary works usually involve what is called the “mega-metaphor” or

extended metaphor, which means that some metaphors that run through the whole text

and makes every micro-metaphor that surfaces coherent (Kovecses, 2010). The micro-

metaphor can be told from linguistic expressions.

3. Translation and translation procedures

3.1. Translation

There is a wide range of attempts to capture the nature of translation, resulting

in hundreds of definitions. However, there are two popular approaches: Linguistic

approach put forward by Catford (1965) and functionalist perspective by Nord (1991).

Adopting the linguistic point of view, Catford (1965) considered translation an

operation performed on languages: translation is the replacement of textual material in

one language (Source language/SL) by equivalent material in another language (Target

language/TL). This view is also supported by Newmark (1988) when he defined

translation as “rendering the meaning of a text into another language in the way that the

author intended the text.”

The other view is proposed by Nord (1991), who connected the theory of

translating with the theory of action. From that point of departures, Nord discussed

various aspects of translating, such as translation as a translational interaction,

translation as an intentional interaction, translation as an interpersonal interaction,

translation as a communicative action, translation as an intercultural interaction and

translation as a text processing action.

For example, stating that translation is a communicative action, Nord (1991)

argued that communication involves the use of signs and meaning and the producers of

the message need not use the same signs when communicating. Therefore, the job of

the translator is to create sings that are comprehensible by the target reader.

Another facet of translation is that it is an intercultural interaction. Translation

takes place in a particular setting and involves members from different cultures.

Moreover, because language is an inherent part of a culture, translators need to be

aware of the rich points, which are differences in behavior causing culture conflicts and

miscommunication.

3.2. Translation procedures

According to Newmark (1988), while translation methods apply to the whole

text, translation procedures are used for sentences and smaller unit of language. He

proposed sixteen translation procedures, including literal translation, transference,

naturalization, modulation, etc. These procedures are the general ones. However, to

translate metaphors, Newmark (1985) offered another set of translation procedures, in

order of preference.

In Newmark’s framework, Object refers to the concept or things described in the

metaphor (tenor, target domain), while Image refers to the item in terms of which the

object is described (vehicle, source domain). Besides, Sense refers to the literal

meaning of the metaphor or aspects of similarities between the object and the image

(point of similarity, mappings).

Reproducing the same image in the target language: This procedure is

used to translate a source language metaphor into a target language

metaphor with the same image, which is only possible when the source

language metaphor is universal. For example, “Silence is golden” can

ben translated in to “Im lặng là vàng”.

Replacing the image in source language „with a standard target

language image which does not clash with the target language

culture‟: For example, “As poor as a church mouse” is translated into

“Nghèo rớt mồng tơi”

Translating the metaphor by a simile, „retaining the image‟: For

example, “He is a lion”.... Nó, như một con hổ,... or “In a flash, he

struck” is translated into “Nhanh như chớp, nó tấn công”.

„Translation of metaphor (or simile) by simile plus sense: It helps to

explain to both laymen and experts. For example: “He is a lion” is

translated into “Nó có sức mạnh như một con hổ”

Conversion of the metaphor to sense: For example, “He is a lion” is

translated into “Nó có sức mạnh vô địch”

Modification of the metaphor: This procedure is applied when the

metaphor is too bizarre in the target language and the translator uses a

synonym to it. This is an example by Newmark (1985). In the Italian

language, “bruciare all' altare “, which means to burn at the altar, is

translated into “to sacrifice” in English

Deletion: In this procedure, the metaphor together with its sense is

omitted from the translation. If the metaphor is redundant (the

metaphor’s role has been taken by other expressions in the text), the

translator can opt for leaving the metaphor out of the translation together

with its sense.

Using the same metaphor combined with the sense: This procedure is

employed when the translator wishes to sure the power of the metaphor

on the target language reader and makes sure the readers understand the

metaphor. The following example is provided by Newmark. “The tongue

is a fire” and the translator adds that “A fire ruins things and what we say

also ruins things.”

Another point to note in the translation of metaphor is simile. Simile and

metaphor have a very close relationship in that a metaphor is considered an implicit

simile, according to the traditional views. However, simile is supposed to be more

logical than metaphor because simile shows the similarities between the two domains

(Al-Harrasi, 2001). In translation, according to some scholars, simile plays an

important role in translating metaphors in such a way that it is the most effective way

(Nida, 1964), and closest, most preferred ways (Al-Harrasi, 2001) in dealing with

metaphor translation.

In addition, Al-Harrasi (2001) offered another treatment of conceptual

metaphors in translation. In this framework, “rich image” means a particular image

example/instantiation evoked to a person’s mind when encountering an image schema.

For example, when one thinks of the MOVEMENT schema, which involves a starting

point, a path and a destination, etc., it is possible that one might think of a specific

example that instantiates that image schema, for example, a child crawling, a bike

moving and so on. The MOVEMENT that involves a starting point, and a path, etc. is

called the image schema. The image of a child crawling is called the Rich Image that

manifests or instantiates the image schema of MOVEMENT.

Instantiating the same conceptual metaphor

 Same Image Schematic Representation: In this procedure, the translator

keeps the same image schematic metaphor in the source language and

realizes it in a similar way in the target language.

 Concretising an image schematic metaphor: Al-Harrasi gave an example

that the Arabic version is: “Iraq was hit in the center of its entity” and the

English translation word for “center” is the heart, which is an image-rich

domain. However, heart and center evoke to the mind the same image

schema.

 Instantiating in the target language only a functional aspect of the image

schema: According to this procedure, the source text employs a metaphor

whose source domain is an image schema. However, after the translation,

only a functional aspect of that schema is preserved. For example, the

Arabic source text uses the image schema of core-peripheral, the English

translation made it into “essence” and “essential”, which is some aspects

of function that are assumed to be played by the CORE. However, these

functional aspects still bring the image schema of CORE to the readers of

the target text.

 Same image schema and rich image domains: In this procedure, the

source text uses an image-schema metaphor and the metaphor is realized

by an image-rich domain. The target text does the same. For example, the

source text creates a conceptual metaphor, OMAN IS A SOIL with

political activities are viewed as planting seeds. In the English version,

the image of soil and plants are reproduced.

 Same rich image metaphor but alerting the reader to the mapping: This

procedure is similar to the last one but the translator adds more words to

signal to the reader that it is a metaphor, eg. “so to speak”.

 Using a different rich image that realizes the same image schema

realized by the rich image in the source text: In this procedure, the source

and target texts agree on the image schema but are different in the rich-

image linguistic realizations. For example, to describe the power struggle

between superpowers, the Arabic text uses the image of “tug-of-war”, but

the target text uses “the upper hand”. However, both of them suggests the

image schema of pulling.

 From the rich image metaphor to image schematic representation: The

source text uses an image schema and realizes it with a rich image

linguistic realization. However, the target text uses only the image

schema but not the rich image. For example, to describe an

underdeveloped city, the source text uses the image of sand dunes

preventing movement. However, the target text only mentions the

situation by the word “stagnation”.

 Same mapping but a different perspective: In this procedure, the source

and target text both realize the same metaphor but from a different

perspective. For example, talking about the benefits of university

education, the Arabic source texts mention the “fruit of science” received

by the students. However, the target text makes it what the university

provides.

Adding a new instantiation in the target text: In this procedure, the

source text does not realize the conceptual metaphor but the target text

chooses to realize it. For example, to talk about the political concept of

people, the English target text uses the “family”, which is familiar to the

Arabic community, but the Arabic source text does not realize it.

Using a different conceptual metaphor: In this procedure, the source

and the target text make use of different conceptual metaphors, though

they are equivalent of each other in two different languages. For

example, the source text uses the conceptual metaphor AMERICA IS

THE CORE OF DISBELIEF, but the translation uses the image schema

of POSITION.

Deletion of the expression of the metaphor: In this procedure, the

whole metaphor is deleted because the ideological ideas provoked by the

source text might be considered negative by the target audience.

These two frameworks share some similarities. First, they both mention,

perhaps, the most preferred procedure, which is keeping the same metaphor in the

source text. Also, the procedure of deleting the metaphor is also discussed. However,

there are some differences between the procedures proposed by Newmark and the one

by Al-Harrasi. First, while Newmark’s procedures is more likely to be applied to

traditional metaphors with the mention of “sense” and “simile”, which gives more

focus to words rather than the conceptual or understanding mechanism, the framework

offered by Al-Harrasi is exclusively used for conceptual metaphors. Another major

difference is that Al-Harrasi’s framework does not mention the case when the

conceptual metaphor in the source text is translated but its equivalent target text

expression gives rise to no conceptual metaphor at all, whereas Newmark mentioned

this case with the procedure of converting metaphor into sense. Besides, Al-Harrasi

framework is proposed after he studied only the translation of political discourse from

Arabic into English.

3.3. Translation of metaphors and conceptual metaphor

Metaphor translation has been a concern of research by many scholars. For

example, Kloepfer (1967) argued that the bolder and more creative the metaphor is, the

easier it is to transfer the metaphor into another language. However, Dagut (1976)

defined metaphor as a one-off image and a violation and the translatability of

metaphors does not depend on boldness and originality but the degree of shared

cultural experience between the source and target cultures. Since the arrival of new

findings on the nature of metaphors offered by cognitive linguistics, more scholars

have been drawn to this new aspect of translation of metaphor and as a result, more

research and books, though under-researched, are produced. Mandelblit (1995) argued

that the difficulties in translating conceptual metaphors lie in the different mappings

between source and target language. If the two languages make use of different

mappings, the translation problems are not just linguistic but mainly cognitive ones.

Kovecses (2005) discussed the influences of contexts and different conceptual

mappings that lead to translation problems when dealing with conceptual metaphors.

3.4. Previous studies

Al-Harrasi (2001) investigated the conceptual metaphors in Arabic and their

translations into English in the politic discourse and proposed several procedures for

dealing with translating conceptual metaphors such as Keeping the same conceptual

metaphors, Adding a new instantiation in the target text, and Using a different

conceptual metaphor, etc. Another study conducted on the translation of conceptual

metaphor is by Burmakova and Marugina (2014). The framework used is the Cognitive

Translation Hypothesis proposed by Maldelblit (1995). This theory suggests two

schemes for translating conceptual metaphors, which are similar mapping condition

and different mapping conditions. The two researchers explored the rendering of

conceptual metaphors, especially the mappings between MAN and NATURE, from

Russian into English with the data being a collection of short stories by a famous

Russian writer Vasily Shukshin. They found that there were three procedures used:

switching source domains (16%), saving key formula NATURE IS MAN but with

more specified source domain (30%), and saving the perspective and the source

domain (54%). In addition, Megantara (2017) investigated the procedures employed in

translating the conceptual metaphors from Indonesian into English in the novel “Tarian

Bumi”. The paper is basing on the analytical framework presented by Larson (1998)

that there are three procedures used to translate a metaphor, metaphor into metaphor,

metaphor into simile, and metaphor into figurative language. The result is that around

70% of the conceptual metaphors were translated using the procedures of metaphor

into metaphor. The procedures of metaphor into non-figurative language and metaphor

into simile account for about 25% and 4%, respectively.

Despite the popularity of studies of conceptual metaphor in translation in the

world, almost none of translation studies have dealt with this issue regarding the

Vietnamese and English languages. Therefore, this study hopes to set the stage for

further studies into the translation of conceptual metaphors from English to Vietnamese

and vice versa and to contribute to the general literature of the translation of conceptual

metaphors, especially those found in a literary work.

CHAPTER III: METHODOLOGY

This chapter is concerned with the methodology of this research. First, the

research questions are raised and explained. Next, the procedures for data collection,

data analysis and the methods applied to conducting this study are presented. Finally,

the analytical framework used for analyzing conceptual metaphor translation is

discussed.

1. Research questions

This research aims at answering two questions:

1. What are the conceptual metaphors and their linguistic manifestations in the English

novel?

2. What procedures are applied in translating the conceptual metaphors from English

to Vietnamese?

The first research question sets the basis for the whole study as the answer to

this question presents the conceptual metaphors available in the source text and their

linguistic manifestations. From that point of departure, more work such as examining

the translations and comparing conceptual metaphors in the source and target texts is

conducted to reveal the answer to the second research question. The second question

separately deals with translation procedures to reach the research aim.

2. Description of data

“The Call of the Wild” is an adventure novel by Jack London, a famous

American writer, set in Canada in the 1890s

(https://en.wikipedia.org/wiki/The_Call_of_the_Wild). The novel features a dog called

Buck with his adventure and adaptation to survive in the harsh, violent nature. After

being stolen, he became a sled dog and passed many hands until he completely left the

human civilization to be the leader of a wild wolf pack.

The electronic English version of the novel is achieved from:

https://www.ibiblio.org/ebooks/London/Call%20of%20Wild.pdf

The Vietnamese version is translated by Hoàng Hà Vũ under the title “Tiếng gọi

nơi hoang dã”, published by the Literature Publishing House in 2016.

3. Data collection and data analysis procedures

First, the English novel is thoroughly read to identify the conceptual metaphors

and their linguistic manifestations by applying the model of conceptual metaphor by

Lakoff and Johnson (2003). Second, the Vietnamese equivalents of these metaphors

and linguistic expressions are extracted from the Vietnamese version. Next, the

Vietnamese linguistic expressions obtained in step 2 are examined to identify the

conceptual metaphors that underlie the Vietnamese linguistic expressions, if any by

making use of the model by Lakoff and Johnson, again. Finally, the English source text

and the Vietnamese target text are paired to investigate which procedures have been

applied to treat the conceptual metaphors in the source text.

In this paper, the conceptual metaphor is written in capital letters while their

linguistic realizations are noted down in normal characters.

Conceptual metaphor: TIME IS A MOVING OBJECT

The linguistic manifestations: Summer arrived

4. Methods of the study

This study combines both qualitative and quantitative methods.

The qualitative method is employed to examine the English source text and the

Vietnamese translation to identify the conceptual metaphor available. After that, the

data collected is brought into comparison to identify the treatment of the conceptual

metaphor in the source text or in other words, how they are dealt with by the translator

to identify the relevant procedures.

The quantitative method is deployed to make statistics on the most common

procedures used by the translator in working with conceptual metaphor translation in

this single literature work.

5. Analytical framework

First, regarding the identification of conceptual metaphor, this paper adopts the

metaphor model offered by Lakoff and Johnson (2003). In the novel, the conceptual

metaphors manifest themselves via linguistic means, which include nouns (e.g. bite,

pride), verbs (e.g. hate, fell), adjectives (e.g. ashamed, hot) or a combination of words

(e.g. went from bad to worse). Therefore, all the words and expressions in the seven

chapters of the novel are closely read and investigated to see whether there is any

conceptual metaphor underlying them. For example, from the linguistic expression “the

roaring fire” and especially with the adjective “roaring”, it is possible to conclude that

the fire is viewed as an animal that is making a long, loud, deep sound. Therefore, the

conceptual metaphor that underlies this expression is FIRE IS AN ANIMAL.

Second, in terms of translation procedures, this study chooses the framework

proposed by Al-Harrasi (2001) to analyze the translation of conceptual metaphors from

English into Vietnamese. However, it is clearly noticed that Al-Harrasi focused heavily

on image-schema metaphors and the data are majorly taken from political discourses.

Therefore, to suit its purpose, this research reconsiders the specific procedures to deal

with image-schema metaphors and opts for the general framework with four major

procedures to expand it to another type of conceptual metaphors under the scope of this

study: knowledge-based metaphors. The procedures include 1) Keeping the same

conceptual metaphor, 2) Adding a new instantiation in the target text, 3) Using a

different conceptual metaphor, 4) Deleting the expression of the metaphor.

After having analyzed the data, the writer noticed that these procedures do not

totally suit the English-Vietnamese translation. For example, consider the conceptual

metaphor A FIRE IS AN ANIMAL and its linguistic expression, “the roaring fire”. In

the translation, “ngọn lửa rừng rực”, none of the aforementioned procedures are

present in this translation. Simply, the conceptual metaphor in the source text is

converted into simple, non-figurative language. Therefore, this paper offers another

procedure for analysis, which can be called Converting the conceptual metaphor (from

metaphor into no metaphor (the term is borrowed from Newmark’s procedures). In this

procedure, no conceptual metaphors are found in the target text but the meaning of the

source text metaphor is converted, not deleted. Some other modifications are presented

in detail below.

Therefore, the analysis of data will be based on the following procedures:

1) Keeping the same conceptual metaphor

In this procedure, the conceptual metaphor in the source text is kept intact with

little modification. Some sub-types of this procedure are presented below

1.1. Keeping exactly the same conceptual metaphor

In this procedure, the conceptual metaphors found in the source text are kept intact

without any modification. For example, “He felt ashamed” (He refers to the dog Buck)

is translated into “Nó phát ngượng”. Both the English expression and its Vietnamese

translation suggest the same conceptual metaphor DOGS ARE HUMAN and no

modification is added to the metaphor in the Vietnamese translation.

1.2. Keeping the same conceptual metaphor but adding more details

In this procedure, the metaphor in the Vietnamese translation is decorated with more

details. For example, “Buck smiled” and “Buck nhe răng cười” both give rise to the

conceptual micro-metaphor of “DOGS ARE HUMANS”. However, the Vietnamese

translation adds more details to the image of “smiling” with another detail, “nhe răng”.

1.3. Keeping the same conceptual metaphor but using a different image

According to this procedure, the Vietnamese translation uses a different image

compared with the source text, despite the fact that both the source and target

expressions share the conceptual metaphor. For example, “It (the Yukon river) ate

away from the beneath” is translated into “Nó chuyên tâm đào khoét băng bên dưới”.

Here, “ate away” became “đào khoét”, but both of them can suggest the same

conceptual metaphor RIVERS ARE HUMAN.

1.4. Keeping the same conceptual metaphor but switching perspectives

This procedure keeps the source text metaphor but changes the perspective. For

example, “He was become wise” and “Buck chẳng thiếu kinh nghiệm” are both based

on the same conceptual metaphor of DOGS ARE HUMAN and both refer to the

attribute of being sensible. However, the perspective changes from “being positive” to

“being not negative.

1.5. Keeping the same conceptual metaphor but adding another conceptual

metaphor

This procedure maintains the original metaphor but adds another conceptual

metaphor in the translation. For example, “But in spite of this great love he bore for

John Thornton” is translated into “Dẫu mang nặng một tình yêu lớn lao nhường ấy đối

với John Thornton”. Both of these linguistic expressions suggest the conceptual

metaphor DOGS ARE HUMAN because the dog is able to show his “love”. However,

the target piece in Vietnamese creates another metaphor, which is LOVE IS A

BURDEN with the phrase “mang nặng”.

2) Using a different conceptual metaphor

In this procedure, the idea or meaning of the conceptual metaphor in the source

text is conveyed through a different metaphor in the target text. For example, “The sun-

kissed Santa Clara Valley”, manifesting THE SUN IS A HUMAN, became “Thung

lũng Santa Clara ngập nắng”, which gives rise to a different metaphor, LIGHT IS

WATER (đầy).

3) Converting the conceptual metaphors

According to this procedure, the metaphor is translated but the translation

contains no conceptual metaphors. For example, the expression “The two man in bad

tempers” with the metaphor STATES ARE LOCATIONS became “Còn hai ông chủ

đang nhăn nhó”, which presents no metaphor.

4) Deleting the expression of the metaphor

In this procedure, the translator chooses not to translate the metaphor and leave

out the metaphor. For example, “When the long winter nights come on” is translated

into “Những đêm đông dài lãnh lẽo”. Here, the phrase “come on”, which evokes the

conceptual metaphor TIME IS A MOVING OBJECTS is omitted from the translation.

CHAPTER IV: FINDINGS AND DISCUSSIONS

This chapter gives the answers for the two research questions set at the

beginning of the research related to the presence of conceptual metaphors and the

translation procedures applied. Besides, some discussions by the writer based on the

research results are also presented.

1. The conceptual metaphors and their linguistic manifestations in the novel

38 conceptual metaphors together with 231 linguistic realizations of these

metaphors have been uncovered in this research. The following section presents the

conceptual metaphor together with their linguistic manifestations according to the

categorization of metaphors by their nature and in accordance with the scope of this

paper.

1.1. Knowledge-based metaphors

1.1.1. DOGS/WOLVES ARE HUMAN

This conceptual metaphor is pervasive throughout the whole text, which

suggests the important role it plays. Dogs and wolves are comprehended in terms of

human attributes, actions and thinking patterns and social relations. The author must

have paid great effort in elaborating these human aspects in great details and gave them

to these animals. Dogs in this work are able to express a wide variety of emotions

ranging from feeling content, ashamed, irritable, and being mad to having pride,

dignity, love and hatred for each other and for their master, intelligence, faithfulness,

devotions, ambitions and moral nature. Besides, these dogs demonstrated various

human actions such as singing, thinking, reasoning, stealing, robbing, teaching,

serving, studying, learning, refusing, and pleading, etc. Furthermore, the relationships

that hold between the dogs/wolves are understood in human terms. For example, Buck

had comradeship with Sol-leks and other dogs in his team and when Buck followed the

sounding of the call, he ran side by side with his wild brother. He had also been a king

in Judge Miller’s house. Especially, throughout the English version, Buck and other

dogs are referred to as using he and him and his, and alongside other aforementioned

traits, actions, feelings, etc. it is a reasonable to see that that dogs and wolves in this

novel are personified in an extremely detailed manner.

Around 40 linguistic realizations of this conceptual metaphor have been

discovered in the source text. Here are some examples. More can be found in the

Appendix of this paper.

- He felt ashamed. (Buck)

-His dignity was sorely hurt. (Buck)

- This was the pride of Dave. (a dog)

- He was king (Buck)

- He recognized the wild brother.

1.1.2. NATURE IS A HUMAN BEING/ AN ANIMAL

Actually, there are two conceptual metaphors here, namely, NATURE IS A

HUMAN and NATURE IS AN ANIMAL. However, for short, these two metaphors

are combined into one because the source domain of human and animals can both

make actions. In other words, the nature in this novel is viewed as an animal or a

human being living their lives. The nature here includes various natural entities, for

example, celestial objects such as the sun and stars; land, things found on land and

geographical areas such as rivers, fountains, continents, island; animals such as birds,

squirrels, etc.; some phenomena such as fire, breezes, frosts, swirls of water and so on.

All of these inanimate elements of nature are comprehended as having some kinds of

actions or demonstrating actions that are human-like and animal-like. For example, the

sun can be understood as kissing the Santa Clara Valley when it was shining. The sun

is considered dropping to its bed at the end of the day, the sun ate away the frozen

water or the stars can be seen as leaping in the sky. Another set of elements that can

manifest this mode of thinking about nature is expressions that are related to land.

Rivers have mouth, land with necks, islands with breast, continents with backbones and

bed-rock and mountains can be naked, a channel can be blind, or shores of a river can

be frowning. All these features together conjure up a large-scale image of a human

body with different parts and in various states. Furthermore, animals such as birds,

squirrels and crickets can be viewed as talking, chatting, singing or quarreling. In

addition, some natural phenomena can act like an animal or a human being when the

breezes sighed softly and whispered; the frost can dance, the wind can bite with its

venom and so on. Finally, another point to notice here is that the image of the nature or

the wild is constructed as an animal (or a human being) that can hum, be silent, have

patience, and especially can produce “the call”, which partly explains the title of the

novel, The Call of the Wild. In short, all of this forms what is called mega-metaphor,

NATURE IS A HUMAN BEING/AN ANIMAL, a metaphor that realizes itself

through other micro-metaphors such as THE SUN IS A HUMAN BEING, THE WIND

IS AN ANIMAL, A RIVER IS AN ANIMAL, etc.

44 linguistic expressions of this mega-metaphor have been identified. Some

examples are as follow

- The sun-kissed Santa Clara Valley

- He skated on the frowning shores

- At the mouth of the Tahkeena

- A dozen wolverines quarreling over the spoil

- the pregnant silence of the forest

- Buck was haunted by the recollections of smiling land

- The hum of nature

- The call of the wild

- The patience of the wild

1.1.3. THE LASH IS AN ANIMAL

The lash, which is a thin strip of leather at the end of a whip, is a constant image

in this novel since this instrument is used to force and control the sled dogs. And once

again, in line with the conceptual metaphors that rely on ANIMAL/HUMAN as a

source for comprehension, the lash here is also viewed as an animal with various

actions such as singing through the air, biting and stinging. The following are some

linguistic expressions that realize this conceptual metaphor.

- His lash was always singing among the dogs

- He paid no heed to the stinging lash

- They had become insensible to the bite of the lash

1.1.4. TIME as the target domain

Time is an abstract concept and the nature of time is still hardly understood and

structured in human experience. To better comprehend the idea of time, this novel

comprehended time as an object that constantly moving towards human beings via

TIME IS A MOVING OBJECT. Another conceptual metaphor with the target domain

of TIME is TIME IS A HUMAN BEING/AN ANIMAL, in which time is viewed as

doing some actions. The concept of time is illustrated itself in the novel through

darkness, morning, summer, winter, days, and hours, etc. The following are the

linguistic expressions that realize these metaphors.

TIME IS A MOVING OBJECT

- Time was flying

- Three days passed

- Summer arrived

- The months came and went

- Days flashing in the heels of days

- Spring came on once more

TIME IS A HUMAN BEING/AN ANIMAL

- Night found them back on the river

- The second day saw them (booming up the Yukon)

- Morning found them too weak to travel

1.1.5. ANGER as the target domain

Anger belongs to the abstract domain of emotion and therefore, it is not clearly

structured in human cognition. The human mind makes use of other more clearly

delineated and structured such as NATURAL FORCES, ANIMALS or FLUID.

ANGER IS A NATURAL FORCE

- He stormed (and raged at them through the bar)

- It was Buck, a live hurricane of fury

- A gust of overpowering rage swept over him

ANGER IS AN ANIMAL OUT OF CONTROL

- The unbridled anger of the kidnapped king

A bridle is a set of straps that are put around a horse and when a horse is not

bridled, it is hardly controllable.

ANGER IS A HOT FLUID IN A CONTAINER

- to suppress hot speech

- (John Thornton was) too convulsed with rage to speak

“Convulse” means to shake and it is reasonable inference that when a fluid in a

container is heated to a boiling point, the fluid makes the container shakes and

everything that comes out of a boiling container is “hot”.

1.1.7. LIFE as the target domain

Like anger, life and death is abstract concepts and it seems that human beings

are still struggling to define their understanding of these domains. Conceptual

metaphors are one the tools to reach what is called “truth”.

LIFE IS A PLANT

- (and beyond which) life cannot rise

- He was in full flower

LIFE IS FLUID IN A CONTAINER

- life bubbled near to the surface

(- Buck was at) the high tide of his life, overspilling with vigor and virility

- Life streamed through him in splendid flood

LIFE IS AN ANIMAL

- This patience belongs to life when it hunts its living food

- The cry of life plunging down

LIFE IS LIGHT

- Sparks of life fluttered faintly

- The spark of life within flickered and went down

1.1.8. DEATH as the target domain

DEATH IS DEPARTURE

- The tragic passing of Curly

- The first to go was Dub

- The Newfoundland went first

- (the two mongrels) but going in the end

DEATH IS STOPPING

(Death) as a cessation of movement

DEATH IS AN ANIMAL/ A HUMAN

the grip of Death

DEATH IS PASSING OUT

(Death) as a passing out

Other conceptual metaphors found in the English novel is TROUBLE IS

WATER, EMOTIONS ARE FOOD, RAPIDITY IS LIGHT, RAPIDITY IS

SHOOTING, ARGUMENT IS WAR, ABSTRACT STATES/PHENOMENA ARE

CONCRETE OBJECTS, INACTIVITY IS DEAD, THEORIES ARE NAILS,

SPEECH IS WEAPON, HEARING IS TOUCHING, SEEING IS TOUCHING,

LIGHT IS WATER. Their linguistic expressions can be found in the Appendix.

1.2. Image-schema metaphors

Three image schema metaphors have been identified in this novel: CHANGE IS

MOVEMENT, STATES ARE LOCATIONS/CONTAINERS and SILENCE IS

DOWN. The former is based on the motion schema while the latter evokes the schema

of in- out and containers. The last two evokes the schema of up and down. The

following are some of their linguistic manifestations. A full account can be found in the

Appendix.

1.2.1. CHANGE IS MOVEMENT

- Dolly went suddenly mad

- He had never seen a dog go mad

- They grew equal (to challenging his authority)

- Something had gone wrong with him

1.2.2. STATES ARE LOCATIONS/CONTAINERS

- The ill-treatment had flung him into a fever

- Every moment life and limb were in peril

- (The scene often came back to him to trouble him) in his sleep

- Perrault, who was in a hurry

- They were in a sorry plight

1.2.3. SILENCE IS DOWN

The crowd fell silent

1.2.4. LESS IS DOWN (MORE IS UP)

Their strength went down

2. The procedures applied in translating the conceptual metaphors

Out of the five procedures proposed in the adapted framework, four are used to

deal with the conceptual metaphor translation, namely, (1) Keeping the same

conceptual metaphor, (2) Using a different conceptual metaphor, (3) Converting the

conceptual metaphor and (4) Deleting the expression of metaphor.

Translation procedures

4 5%

3 30%

1 54%

2 11%

Figure 1: Percentage of translation procedures

1: Keep the same conceptual metaphor (125 expressions)

2: Using a different metaphor (25 expressions)

3: Converting the conceptual metaphor (70 expressions)

4: Deleting the expression of the metaphor (11 expressions)

Keeping the same conceptual metaphor is the most common procedure with a

frequency of 54%. This is followed by the treatment of converting the conceptual

metaphor (no metaphor) at 30%. Using a different metaphor and deleting the metaphor

account for 11% and 5%, respectively.

2.1. Keeping the same conceptual metaphor

2.1.1. Keeping exactly the same conceptual metaphor

In this procedure, the conceptual metaphors found in the source text are kept

intact without any modification. Take the conceptual metaphor DOGS/WOLVES ARE

HUMAN for example. The English expressions in the source text and the Vietnamese

equivalents all suggest the same conceptual metaphor. For instance, “He felt ashamed”

is translated into “Nó phát ngượng”, “Buck hated him” into “Buck ghét”, “His

intelligence” into “Trí khôn của nó”. Another example is the linguistic expression of

NATURE IS A HUMAN BEING, “the frost dance”, which is translated into “Vũ điệu

sương giá”. The two expressions share the same conceptual metaphor. Another

example is the phrase “But love that was feverish” and its translation “như đang lên

cơn sốt” both suggests the conceptual metaphor LOVE IS SICKNESS.

2.1.2. Keeping the same conceptual metaphor but adding more details.

For example, the pair of “Buck ran with them, side by side with the wild

brother” and “Và Buck chạy theo chúng, sóng đôi với con sói anh em của nó”, which

manifest DOGS ARE HUMAN. However, the Vietnamese translation brings more

details with the words “anh em”. Another example worth discussing is the expression

“Buck smiled”, which is translated into “Nó nhe răng cười”. Although the conceptual

metaphor DOGS ARE HUMAN remains unchanged, the Vietnamese translation adds

the detail of “teeth”.

2.1.3. Keeping the same conceptual metaphor but using a different image

“The music of the unseen fountains” is translated into “những con suối cũng cất

lên những tiếng rì rầm hân hoan”. Here, “the music” became “những tiếng rì rầm”

together with the verb “cất”, but both of them can suggest the same micro-metaphor

FOUNTAINS ARE HUMANS. Another example can be found when the micro-

metaphor THE SUN IS A HUMAN is considered, which underlies the English

expression “It ate away from the beneath” and the Vietnamese translation “Nó chuyên

tâm đào khoét băng bên dưới”. In this example, after translation, “ate” was modified to

become “đào khoét”.

2.1.4. Keeping the same conceptual metaphor but switching perspectives

“He pleaded with eyes to remain there” and “Mắt nó như khẩn thiết van nài” are

both based on the same conceptual metaphor of DOGS ARE HUMAN. However,

while the English version points to the actor “he”, the Vietnamese version switches the

focus to the “eyes” so that the instrument, the eye, in the source text becomes the actor

in the target text. Another instance that can manifest the perspective change is the two

linguistic manifestations of DOGS ARE HUMAN. “He was become wise” is translated

into “Buck chẳng thiếu kinh nghiệm.” In this case, the perspective switches from being

positive (wise) to being not negative (chẳng thiếu kinh nghiệm).

2.1.5. Keeping the same conceptual metaphor but adding another conceptual

metaphor

“But in spite of this great love he bore for John Thornton” is translated into

“Dẫu mang nặng một tình yêu lớn lao nhường ấy đối với John Thornton”. Both of

these linguistic expressions suggest the conceptual metaphor DOGS ARE HUMAN

because the dog is able to show his “love”. However, the target piece in Vietnamese

creates another metaphor, which is LOVE IS A BURDEN with the phrase “mang

nặng”. Another pair that can be taken into consideration is “His madness knew no

caution” and “Cơn điên giận khiến nó không còn biết suy tính thiệt hơn”. Besides

DOGS ARE HUMAN, the Vietnamese translation uses another conceptual metaphor,

ANGER IS A NATURAL FORCE with the word “cơn”, which is usually paired with

natural forces such as in “cơn gió”, “cơn dông”, “cơn bão”, etc.

2.3. Using a different metaphor

In this procedure, the idea or meaning of the conceptual metaphor in the source

text is conveyed through a different metaphor in the target text. For example, “The sun-

kissed Santa Clara Valley”, manifesting THE SUN IS A HUMAN, became “Thung

lũng Santa Clara ngập nắng”, which gives rise to a different metaphor, LIGHT IS

WATER (đầy). Another example is that “The rest of the team went from bad to

worse”, which is based on the conceptual metaphor STATES ARE LOCATIONS, is

rendered into “Lũ chó còn lại cư xử bố láo hết sức”, which suggests the conceptual

metaphor DOGS ARE HUMANS.

2.4. Converting the conceptual metaphor

According to this procedure, the metaphor is translated but the translation

contains no conceptual metaphors. For example, the expression “The two man in bad

tempers” with the metaphor STATES ARE LOCATIONS became “Còn hai ông chủ

đang nhăn nhó”, which presents no metaphor. Another instance that is worth

discussing here is the phrase “He stormed (and raged at them through the bar)” and the

Vietnamese translation “Nó giận dữ (chồm tới)”. The source text metaphor is ANGER

IS A NATURAL FORCE but “giận dữ” in the Vietnamese expression brings out no

metaphor at all. Another example that should be illustrated here is the expression “the

roaring fire”, which suggests A FIRE IS ANIMAL. However, after being translated

into Vietnamese, it became “ngọn lửa rừng rực” with no conceptual metaphor for the

fire.

2.5. Deleting the expression of the metaphor

In this procedure, the translator chooses not to translate the metaphor and leave

out the metaphor. For example, the English expression “He would lie by the hour,

studying it” with the phrase “studying it” that suggests the conceptual metaphor

“DOGS ARE HUMAN” but no translation for the whole sentence can be found in the

target text. Two other examples are “Squirrels were chattering” and “Through the soft-

sighing breezes”, which lie under the macro-conceptual metaphor NATURE IS A

HUMAN. Some other examples worth considering are the expessions “When the long

winter nights come on” with the conceptual metaphor TIME IS A MOVING OBJECT

(the Vietnamese translation is Những đêm đông dài lãnh lẽo), “The second day saw

them (booming up the Yukon)” (TIME IS A HUMAN BEING) (which is translated

into Ngày thứ hai), and “Morning found them too weak to travel” (TIME IS A

HUMAN BEING) (which is translated into sáng hôm sau). It is clear that including the

metaphor in the translation is not necessary.

3. Discussion

Dozens of conceptual and more than 200 linguistic expressions relating to these

metaphors are found across seven chapters of the novel. The findings the this research

help to reinforce the arguments made by Lakoff and Johnson (2003) that metaphors are

pervasive in language and thoughts and sometimes, they are so deeply rooted in our

thought that they are hardly recognized as metaphors.

Another point to notice is that, sometimes, more than one source is used to

comprehend a single target domain. For example, to understand the concept of time,

two source domains have been deployed, namely A MOVING OBJECT and AN

ANIMAL/A HUMAN BEING. Another piece of evidence can be found in all the

conceptual metaphors with the target domain of LIFE. There are four source domains,

namely, PLANT, LIGHT, ANIMAL, and FLUID used to structure the concept of

LIFE. Lakoff and Johnson (2003) discussed this phenomenon in details and they

argued that the nature of conceptual metaphors is highlighting and hiding. At the same

time, a single conceptual metaphor just describes one aspect of the target domain and

hides other aspects. Therefore, it is understandable that the human mind makes use of

many conceptual metaphors to structure one single concept and these metaphors are

not contradictory with one another but they form a coherent system in our thinking

pattern (Lakoff & Johnson, 2003).

Next, the findings on conceptual metaphors are in line with what Lakoff and

Turner (1989) presented in their book “More than cool Reason” on metaphors in

literature. Two often found metaphors in literary texts are personification and mega-

metaphors. Personification is a major feature of the source language text with tens of

personifications running throughout the text. Also, literary writers often rework the

conventional metaphors in many ways (see the Literature Review Chapter) including

elaborating elements the source domain in details or including unusual elements in the

source domain (such as the womb of Time). Also, mega-metaphor such as NATURE IS

A HUMAN BEING/AN ANIMAL is realized through numerous micro-metaphors.

Besides, the study also reveals two different modes of thinking via the

examination of different conceptual metaphors. The translator does not only have to

travel back and forth between the words of the source and target texts but also switches

between the two different thinking patterns.

However, surprisingly, some metaphors or certain modes of thinking are present

in both Vietnamese and American minds, for example, construing animals in human

terms. Therefore, those conceptual metaphors related to personification are more likely

to be preserved after the translation. A noticeable figure is that out of 125 expressions

whose the conceptual are kept intact, 59 are related to personification in which dogs

and different elements of the nature are comprehended in human terms. Besides,

among the 14 expressions of TIME IS A MOVING OBJECTS, 10 translations of these

expressions were successful in keeping the metaphor. This is in accordance with the

findings on the universality of some conceptual metaphors by Kovecses (2010). He and

other linguists of some languages found that the conceptual metaphor ANGER IS A

PRESSURIZED CONTAINER exists in English, Japanese, Chinese, Hungarian,

Wolof, Zulu, Polish, and others.

In addition, although sometimes the two languages share the same conceptual

metaphor, for example, ANGER IS A NATURAL FORCE, their linguistic realizations

are totally different and in some cases the expressions cannot be rendered literally, like

“he stormed” and “Nó giận dữ”. This phenomenon is best captured by Stienstra (1993),

who argues that a large amount of human experience is universal, or at least shared by

several cultures; thus, it is not the conceptual metaphor that is culture-dependent, but

its linguistic realization.

Moreover, regarding “TIME IS A HUMAN BEING”, there exists a strange

element of the source, which is the “womb”, and this metaphor is also kept intact with

little modification. This is in agreement with the “bolder theory” proposed by Kloepfer

(1967) that the bolder and more creative the metaphor, the easier it is to be transferred

into another language.

Finally, out of 44 linguistic manifestations for “NATURE IS A HUMAN

BEING/ AN ANIMAL”, almost half of their translations totally convert the metaphor

into no metaphors. Also, 100% of “THE LASH IS AN ANIMAL” is absent in the

translation. ANIMAL and HUMAN BEINGS are two important source domain, which

contributes to the big picture of the wild in the source text but it is not reconstructed in

the target text. This idea gives rise to the question of to what extent the translation

achieves equivalence.

CHAPTER V: CONCLUSION

This chapter recaps the topics discussed in this paper and represents some main

findings of the research, as well as restating the importance of this study. Also, the

writer will discuss certain limitations of this paper. In addition, some directions for

further studies will be outlined.

1. Recapitulation of main ideas

Taking the cognitive view of metaphor, this study investigates some conceptual

metaphors available in the adventure novel “The Call of the Wild” and the translation

procedures applied to deal with them from English to Vietnamese. Around 40

conceptual metaphors of two categories, knowledge-based and image schema

metaphors have been found together with more than 200 linguistic manifestations.

Some knowledge-based metaphors are DOGS ARE HUMANS, NATURE IS A

HUMAN/AN ANIMAL, LIFE IS A PLANT, DEATH IS DEPARTURE, etc. Some

image-schema metaphors are STATES ARE LOCATIONS, THE BODY IS THE

CONTAINER OF LIFE and SENSES, CHANGE IS MOVEMENT, etc. It is clear that

the conceptual metaphors uncovered in this paper belong to numerous sources and

target domains, including humans and animals, life, death, emotions such as love,

hatred, anger and time, etc. Besides, the abundance of the conceptual metaphors and

their linguistic realizations suggest that conceptual metaphors are pervasive in

language and thought. Moreover, in most cases, one conceptual metaphor found in this

research is manifested by numerous linguistic expressions, which seems to prove that

conceptual metaphors are systematic in the human thinking pattern. Another idea worth

discussing is that in some cases, the source domain, e.g. HUMAN, is elaborated in

great detail with a range aspects used such as thinking, actions, emotions, etc. Further

more, sometimes, the micro-conceptual metaphors such as THE SUN IS HUMAN,

FOUNTAINS ARE HUMAN, FIRE IS AN ANIMAL, etc relate with one another

throughout this novel to form a macro-metaphor NATURE IS A HUMAN BEING,

which suggests an important image and meaning as well as some idea on the cohesion

created by Jack London by building a big metaphor of nature in this adventure novel.

After the Vietnamese translations have been examined, four translation

procedures have been identified. Keeping the same conceptual metaphor is the most

used treatment, followed by converting the metaphor, using a different metaphor and

deleting the metaphor. To suit the aims set out at the beginning and a new pair of

languages, English-Vietnamese instead of Arabic-English, this paper had adapted the

framework proposed by Al-Harrasi (2001) by making some modifications such as

adding more procedures. Although this research does not aim at making assessment on

the equivalence between the two texts, the idea evoked by the treatement of conceptual

metaphors by the translator is significant. Some important conceptual metaphors are

not kept intact but converting or even deleting, especially the macro-metaphor

NATURE IS A HUMAN BEING/AN ANIMAL. Therefore, reading the Vietnamese

translation, the reader may not have the oppoturnity to enjoy the systematic image of

nature as a human being/an animal that might have deliberately created by the author

of this literary work.

2. Implications

First of all, this study can play an insightful role in helping translators to look at

their translation from a new perspective, the cognitive approach to metaphor, which

may prove valuable in assisting them in choosing words and images when dealing

conceptual metaphors.

Second, this study raises two needs: a systematic study of the conceptual

metaphors in the Vietnamese and a specific framework of translation procedures for

dealing with conceptual metaphors in English-Vietnamese translation. The former

arises because during the research process, the writer came across some studies on

conceptual metaphors in Vietnamese but they deal with a particular, and narrow, field

such as Vietnamese proverbs or conceptual metaphors in Chế Lan Viên’s poem

collection (Chi & Thùy, 2013) or a single conceptual metaphor LOVE IS A JOURNEY

(Hương, 2011). The latter surfaces as a result of some incompatible procedures taken

from the Arabic – English translation study by Al-Harrasi (2001).

3. Limitations

First, the list of conceptual metaphors and their linguistic realizations are not

exhaustive. There might be much more conceptual metaphors that are not found by the

writer. Moreover, even when the conceptual are identified, their linguistic expressions

might be overlooked. Another possible limitation relating to the counting of linguistic

expressions is that in a single expression, there may be more than one conceptual

metaphor but in some cases, the linguistic expression is counted only once. For

example, for the expression, The rest of the team went from bad to worse alone, at least

two image schemas, namely CHANGE IS MOVEMENT and STATES ARE

LOCATIONS can both be found but in this paper, they are counted as one in the

category of CHANGE IS MOVEMENT.

Second, the English version is obtained online and there might be more than one

version of this work available. Moreover, there is little to make sure that the

Vietnamese translator used this particular version to conduct the translation, though

almost all of the linguistic comparisons of the two versions match.

Third, the translation analytical framework is taken from a study that work with

Arabic and English and then adapted by the writer, so it might not be totally suitable to

analyze the English-Vietnamese translation.

Fourth, among the four major procedures proposed by Al-Harrasi (2001), this

study can only find four and the procedure of Adding a new instantiation in the target

text is not identified as a result of the data collection procedure. This paper started with

listing the conceptual metaphors in the English version and then, basing on the English

expressions to locate the Vietnamese equivalents. Therefore, it is impossible to

investigate whether the translator has added a new instantiation of a metaphor as it

requires examining the whole Vietnamese texts, which does not follow the procedures

for collecting data set out in this research.

Fifth, the conceptual metaphors found in the Vietnamese version and some in

the English version have not been examined in a larger corpus to see whether they are

one-off or systematic in the thinking patterns.

Finally, it seems extremely hard to identify the conceptual metaphors in

Vietnamese because the writer does not have much knowledge on the history of

Vietnamese words and componential meanings of each word. Furthermore, not may

scholars have attempted to systematically investigate the conceptual metaphors in the

Vietnamese language. For example, does the Vietnamese phrase “Ăn cướp” or “Cửa

sông” form conceptual metaphors of any type? Therefore, the results are subjective to

the researcher’s objective judgement. As a result, there might be conceptual metaphors

in the Vietnamese translation but the writer failed to address.

4. Suggestions for further research

More studies can be carried out on The Call of the Wild by applying another

analytical framework concerning the translation procedures to compare the results with

this paper. Another direction can be conducting on the translation of conceptual

metaphors in other works of literature or poems, or in types of discourses such as

politics, media texts, advertising and so on. Moreover, translation procedures applied

for a particular type of conceptual metaphors can be explored in much greater details.

Or those who are more ambitious can work on proposing a more detailed framework of

procedures for translating conceptual metaphors from English to Vietnamese.

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University Press.

APPENDIX

List of conceptual metaphors, their linguistic manifestations, their Vietnamese translations

and translation procedures

CONCEPTUAL METAPHORS TRANSLATION NOTE

(English) ENGLISH LINGUISTIC REALIZATION S CONCEPTUAL METAPHOR & PROCEDURES (Vietnamese)

Buck was king Nó là vua 1

DOGS/WOLVES ARE HUMAN

(his) wounded pride niềm kiêu hãnh bị tổn thương

His madness knew no caution

Cơn điên giận khiến nó không còn biết suy tính thiệt hơn 1 + ANGER IS A NATURAL FORCE

He felt ashamed Nó phát ngượng 1

P14 (Buck)

1 Buck hated him Buck ghét ()

A dog 1 Dave lờ tịt

Dave ignored them

His only apparent ambition Sol-leks cũng chỉ mong yên thân

His- Sol- leks

P18 1

For he was learning fast nó học chiêu này khá nhanh

Sự băng hoại của đạo đức 1

The decay or going to pieces of his moral nature

Buck reasoned it out Buck không nghĩ được đến như vậy

1 P16

His dignity was sorely hurt Lòng kiêu hãnh (của Buck tổn thương nghiêm trọng)

tình đồng liêu giữa nó với lão chó già

(Forever, Buck avoided his blind side) and to the last of their comradeship (had no more trouble)

Nó không ăn cắp cho vui 1

He did not steal for joy

He did not rob openly Nó không ăn cướp trắng trợn

This was the pride of Dave Đấy chính là niềm kiêu hãnh

1 thách thức lại cả Spitz (Spitz)

(to challenge) his authority

Đầy tham vọng 1

ambitious (creatures)

Pike robbed (him of half a fish)

Pike (còn táo tợn đến nỗi) đánh cướp (cả nửa con cá)

Buck remembered Buck sực nhớ (đến lão áo đỏ)

He was become wise (Về khoản này) Buck chẳng thiếu kinh nghiệm 1 + perspective change

He would not be content with less

nó sẽ không đời nào chấp nhận một vị trí thấp kém hơn

Buck laughed Buck nhe răng cười

1 + describe in more details

(Sometimes he thought of Judge Miller’s big house đôi khi nó thả hồn miên man nhớ về trang trại của ngài thẩm phán Miller

Nó ủ rũ và bẳn gắt hơn 1

He became more morose and irritable

1 Dave

Cái vị trí nó đã phụng sự bấy lâu

The position he had held and served for so long

He would lie by the hour, studying it

No transla tion availab le

1 Dave

He refused to run quietly Dave cự tuyệt việc chạy suông theo xe

Dave

Mắt nó như khẩn thiết van nài 1 + perspective change

He pleaded with eyes to remain there

Buck và đồng bạn coi thường chúng ra mặt

Buck and his comrades looked upon them with disgust

He speedily taught them their places Buck nhanh chóng chỉ dẫn chúng cặn kẽ vị trí kéo

(Buck) no longer enforcing discipline

(Buck) không muốn buộc hoặc không muốn ép lũ bạn nghề tuân theo kỷ luật nữa

cả hai con chó ấy không bao giờ tỏ ra ganh tị với nó

these dogs manifested no jealousy toward him

1 + LOVE IS A BURDEN

But in spite of this great love he bore for John Thornton Dẫu mang nặng một tình yêu lớn lao nhường ấy đối với John Thornton

1 61

Bên cạnh lòng trung thành và sự tận tụy

Faithfulness and devotion (things born of fire and roof) was his

And Buck was Mà Buck thì không hề 1

merciless biết thương xót là gì

Từ đó nó mới miễn cưỡng chấp nhận

He tolerated them in a passive sort of way

Trí khôn của nó 1

His intelligence (shepherd intelligence)

Buck recognized the wild brother Buck nhận ra đấy chính là người anh em hoang dã

1 + describe in more details

Và Buck chạy theo chúng, sóng đôi với con sói anh em của nó

Buck ran with them, side by side with the wild brother

1 + Perspective change

Và từ cái cổ họng to lớn của gã rung lên bài ca của thế giới man sơ, bài ca của loài sói

His great throat a- bellow as he sings a song of the younger world, which is the song of the pack

The sad and lonely North miền đất phương Bắc buồn bã, quạnh hiu

NATURE IS A HUMAN BEING/AN ANIMAL

Thung lũng Santa Clara đầy nắng 3 LIGHT IS WATER

The sun-kissed Santa Clara Valley

He skated on the frowning shores Anh men theo những rìa băng mỏng viền bờ sông

Lông chúng cháy xém cả 4

They were singed (signed?) by the flames

Buck phóng qua vạt rừng trên cù lao

The wooded breast of the island

The stars leaping những ngôi sao nhấp 4

nháy

1 Vũ điệu của sương giá

(in) the frost dance

4 Vùng đất hoang vu

The land (is) numb

4 Ở cửa sông Tahkeena

At the mouth of the Tahkeena

4 Một rẻo đất hẹp P34

A narrow neck of land

All the amenities and gentlenesses of the Southland Mọi vết tích của vùng đất phương Nam ấm áp hiền hòa

1 + use another image

The music of the unseen fountains (of running water) những con suối cũng cất lên những tiếng rì rầm hân hoan

The backbone of the continent Chiếc xương sống của lục địa

4 Vùng đất tươi đẹp

Buck was haunted by the recollections of smiling land

P77

1 + use another image

Một đám hơn chục con chồn đang nhặng xị giành ăn

A dozen wolverines quarreling over the spoil

wolver ines

Left two behind who would quarrel no more Bỏ lại phía sau hai con chồn sẽ không bao giờ còn biết cãi cọ nữa

Có một thứ bền bỉ, gan lỳ như bản thân sự sống 1 + perspective change

There is a patience of the wild

Sự kiên nhẫn của con vật bị săn đuổi

The patience of creatures preyed upon

The sun dropped to its bed

Mặt trời chầm chậm lặn xuống phía chân trời phía Tây Bắc

The birds talked of it Lũ chim đang líu ríu về sự sống ấy 1 + describe in more details

Lũ sóc xôn xao bàn tán

the squirrels chattered about it 1 + describe in more detail

The very breeze whispered about it Và ngọn gió thoảng nhẹ cũng thì thầm

1 + function

Nó để ý thấy sự yên lặng đáng ngại của rừng núi

(He remarked) the pregnant silence of the forest

tiếng dế ca 1

Crickets sang in the night

Squirrels were chattering

No transla tion availab le

tiếng chim chóc véo von 4

Birds (were) singing

uể oải vươn vai (để gặt sang bên lớp băng)

Yukon was straining to break loose the ice

It ate away from the beneath Nó chuyên tâm đào khoét băng bên dưới 1 + use another image Yukon river

The sun ate from above mượn sức mặt trời làm tan chảy băng bên trên 1 + use another image

Through the soft- sighing breezes

No transla tion availab le

At the mouth of Cửa sông White 4

White River

Cửa sông Tahkeena 4

At the mouth of the Tahkeena

lắng nghe tiếng chim chóc ríu ran 1 + use another image

(listening lazily) to the songs of birds

The hum of nature Thiên nhiên rì rầm 1

The naked bed- rock Dưới lòng vực lổn nhổn những đá

A mad swirl of water Giữa vùng nước xoáy điên cuồng

naked mountains Những ngọn núi trọc

1 + use another image

Lonely beaches Bờ bãi hiu quạnh 1 P72

4 75

(He ran him into) a blind channel Một lối cụt vốn từng là dòng suối

Tiếng gọi nơi hoang dã 4

The call of the wild

the roaring fire ngọn lửa rừng rực 4 P6

Một cơn gió mạnh thốc tới, toàn thân tê cứng, vết thương trên vai đau buốt dữ dội

A chill wind was blowing that nipped him sharply and bit with special venom....

Its wild water defied the frost Dòng nước ngỗ nghịch thách thức cả băng giá

The first gray of down found them hitting the trail

Khi ánh bình mình đầu tiên vừa chớm rọi thì cũng là cả lúc cả bọn đã rong ruổi

THE LASH IS AN ANIMAL/A His lash was always singing Sợi roi da của anh quất liên tục xuống bầy chó

HUMAN BEING among the dogs

He paid no heed to the stinging lash song nó lỳ lợm chịu đau chứ nhất quyết không chịu tuân theo

Ngọn roi của Francois đã vút trong không khí

The lash of Francois’s whip sang through the air

chúng trơ lỳ trước những vệt toạc do roi quật

They had become insensible to the bite of the lash

roi quật xối xả 4

The lash bit into him again and again

họng nó lại bị xiết đến nghẹt thở

Senses were choked out of him once more

THE BODY IS THE CONTAINER OF FEELINGS, SENSES AND LIFE

Life half throttled out of him

Buck hầu như đã ngắc ngoải nhưng vẫn cưỡng lại

He had a fine pride in himself Buck rất đỗi kiêu hãnh về bản thân

Mọi ủ ê, hờ hững biến sạch 1 (no need to add word)

All passiveness and unconcern had dropped from them

The domesticated generations fell from him Đặc tính của hàng thế hệ được thuần hóa rơi rụng dần

(He) fled away in panic Cơn hoảng loạn khiến Buck chạy chối chết

His strength left Chút hơi sức cuối cùng 1

him cũng đang rời bỏ nó

Chỉ có roi với gậy mới thúc được chúng nhấc chân lên thôi

You’ve got to whip them to get anything out of them

Mọi vết tích của vùng đất phương Nam ấm áp hiền hòa cũng bay biến khỏi ba con người kia

All the amenities and gentlenesses of the Southland had fallen away from the three people

Hal had no fight left in him Hal cũng chẳng thiết đánh nhau nữa

Những cảm giác cuối cùng rồi cũng lìa bỏ 1 (no need to add word)

The last sensations of pain left him.

Buck lại thấy lòng bồn chồn kỳ lạ

It filled him with a great unrest and strange desires

Khiến nó toi đời 4

(which could) stamped his life out with a single blow

the great antler and of the terrible splay hoofs

Một cảm giác tự hào trỗi dậy 3 INACTIVITY IS DEAD

He was aware of the great pride in himself

(C5) 4

những đối xử hèn mạt đã khiến nó phát sốt

STATES ARE LOCATIONS/CO NTAINERS The ill treatment had flung him into a fever

Không có nổi một khoảnh khắc an toàn

Every moment life and limb were in peril

() tận trọng giấc ngủ của nó

(The scene often came back to him to trouble him) in his sleep

Perrault, who was in a hurry Perrault vì đang cần lên đường gấp

They were in a sorry plight Tình cảnh của chúng thật thê thảm

The two man in bad tempers Còn hai ông chủ đang nhăn nhó

Francois bừng tỉnh khỏi cơn rầu rĩ

1 + EMOTIONS ARE NATURAL FORCES

He broke from a mournful contemplation of it

trả chúng về với sự âu sầu triền miên trống rỗng 3 EMOTIONS ARE HUMAN

letting them fall back into gloomy unrest and uncontent

Lũ chó còn lại cư xử bố láo hết sức 3 DOGS ARE HUMAN

The rest of the team went from bad to worse

1 + use another image

(Francois) stamped the snow in futile rage giậm chân bình bịch xuống tuyết, vò đầu bứt tóc trong vô vọng

The whole team was in full cry Ngay lập tức cả hội hò hét nhau đuổi theo 3 DOGS ARE HUMAN

In vain Buck strove to sink Buck dù đã cố gắng hết sức mà vẫn

Buck sprang upon Sol-leks in a fury 3 DOGS ARE HUMAN

(Buck) giận dữ (nhảy bổ vào đánh bật con Sol- leks)

They stopped in surprise Chúng sững cả người kinh ngạc 3 DOGS ARE HUMAN

Mercedes điệu đà giơ hai 4

Mercedes throwing up her

tay lên trời mà kêu lên

hands in dainty dismay

ả còn thừa thắng xông lên 4

In her zeal when she had finished with her own

Chẳng hiểu làm thế nào 4

That Hal’s view on art...should have anything to do with the chopping of a few sticks passes comprehension

trong tột đỉnh khốn cùng P54

In their very great misery 1 + use another image

Hal nổi cơn tam bành

Buck (drive Hal) into a rage

3 ANGER IS A NATURAL FORCE

4 describe in more details

Hai bạn anh chật vật kéo chủ lẫn tớ lùi về chỗ an toàn

Hans and Pete were dragging them back into safety

Being in no haste Không việc gì phải vội 4

vàng

this lost mine was steeped in tragedy and shrouded in mystery Cái mỏ trở thành một huyền tích được che phủ bởi tấm màn bí ẩn và vô số những thảm kịch

They fled in terror Vừa kinh hoàng la hét

vừa bỏ chạy 3 DOGS ARE HUMAN

the stricken wolf rolling in agony Con sói vừa bị hạ gục đang quằn quại giãy chết

4 Nó giận dữ (chồm tới)

ANGER IS A NATURAL FORCE He stormed (and raged at them through the bar)

It was Buck, a live Như một hung thần hủy 3 ANGER IS A

hurricane of fury diệt DESTROYER

Cơn thịnh nộ bùng lên che mờ cả trí não 1 + ANGER IS FIRE

A gust of overpowering rage swept over him

bừng bừng cơn lôi đình

ANGER IS AN ANIMAL OUT OF CONTROL the unbridled anger of the kidnapped king

3 ANGER IS A NATURAL FORCE, ANGER IS FIRE

khỏi nóng nảy thốt ra lời khó nghe 1 + describe in more details

ANGER IS HOT FLUID IN A CONTAINER

(One of the onlookers, who had been clenching his teeth) to suppress hot speech

Cơn giận làm anh run bần bật không thốt nổi lên lời

1 ANGER IS A NATURAL FORCE

(John Thornton was) too convulsed with rage to speak

như đang lên cơn sốt 1

LOVE IS SICKNESS But love that was feverish

LOVE IS HEAT cháy bỏng (C10)

(Love that was) burning 1 + describe in more details

rồ dại 1

(Love that was) madness LOVE IS MADNESS

LOVE IS A PLANT His love seemed to grow and grow 3 LOVE IS A HUMAN BEING

Tình yêu của Buck đối với Thornton ngày càng lớn thêm

HAPPINESS IS LIGHT his eyes lit upon Buck Mắt gã sáng lên khi nhìn thấy nó

The toil had become a delight to him Bởi vì công việc nhọc nhằn đã trở thành niềm vui của nó

Cả anh và lũ chó đều yêu thích

(to sit down for a long talk with them was as much

his delight as theirs

His heart shining out of his eyes as Buck’s heart shone out

Trái tim anh ngời sáng qua ánh mắt cũng như tình cảm tự đáy lòng Buck đang rạng rỡ trong đôi mắt nó

Buck thích mê tơi 4

To Buck it was boundless delight

Bitter hatred Buck ghét cay ghét đắng P16

EMOTIONS ARE FOOD 1 + describe in more details

Cơn điên giận

Bitter rage (was his)

3 EMOTIONS ARE NATURAL FORCES

Sweet gladness 1 p74

Một niềm vui sướng dịu ngọt

Những ngày tiếp sau đó 1 (C15)

As the days went by

TIME IS A MOVING OBJECT

Yet his time came Nhưng rồi cũng tới lượt nó 1 + perspective change

Trong vòng một giờ đồng hồ 3 TIME IS A CONTAINER

Before another quarter of an hour had passed

thời khắc đã điểm 4

The time had come

Time was flying Thời gian trôi nhanh quá

1 + use a different image

Three days passed Ba ngày trôi qua 1

Summer arrived Mùa hè tới 1

Ngày tháng trôi qua 1

The months came and went

Days flashing in Ngày nối ngày vùn vụn 1

the heels of day trôi qua

Mùa xuân lại đến 1

Spring came on once more

Mùa thu đến 1

As the fall of the year came on

Night came on Đêm xuống

3 DAY IS UP, DARK IS DOWN

Những đêm đông dài lạnh lẽo

When the long winter nights come on

1 (bulls)

Mùa đông đang đến. Đàn nai mau chóng xuống các vùng đất thấp hơn

The down-coming winter was harrying them on to the lower levels

5 (bulls)

TIME IS AN ANIMAL/ HUMAN Mùa đông đang đến. Đàn nai mau chóng xuống các vùng đất thấp hơn

The down-coming winter was harrying them on to the lower levels

1 Bóng tối đã trở về

Darkness had come back

Bóng tối mịt mùng buộc họ phải lần mò tìm chỗ cắm trại

Darkness had forced them to grope for a camping place

Night found them back on the river 3 DARK IS DOWN

Lúc cả đoàn xuống được dòng sông băng an toàn thì trời cũng vừa sập tối

Ngày thứ hai (họ băng băng vượt sông Yukon)

The second day saw them (booming up the Yukon)

Sáng hôm sau 5

Morning found them too weak to travel

(TIME IS A MOTHER) Chiêc thai non tìm về lòng mẹ Thời gian 1 + perspective change

(the parts of his nature) going back into the womb of Time

LIFE IS A PLANT (and beyond

sự sống không thể dấn thêm lên được nữa 3 LIFE IS A HUMAN BEING

which) life cannot rise

He was in full flower Buck đang trong thời kỳ phát triển rực rỡ nhất

LIFE IS FLUID IN A CONTAINER life bubbled near to the surface sự sống đang sôi lên dưới làn da 1 + use a different image

Đang ở đỉnh cao phong độ, tràn trề sức mạnh và khí thế

(Buck was at) the high tide of his life, over spilling with vigor and virility

Sự sống như ngon triều dâng 1 + use a different image

Life stream through him in splendid flood

LIFE IS AN ANIMAL

1 + use a different image (more specific)

this patience belong to life when it hunts its living food

Đó là thuộc tính của một sinh vật bắt buộc phải có nếu muốn săn một sinh vật khác làm thức ăn cho mình

the cry of life plunging down Tiếng kêu của sự sống ngã nhào

LIFE IS LIGHT 1 (C20)

sparks of life fluttered faintly những tàn lửa của sự sống đang leo lét

The spark of life within flickered and went down Tàn lửa sự sống bên trong Buck chập chờn rồi mờ dần

4 cái chết thê thảm của Curly

DEATH IS DEPARTURE 4 Con Dub chết đầu tiên

1 the tragic passing of Curly The first to go was Dub The Newfoundland Con nòi Newfoundland ra đi trước

(Hai con chó lai) cũng chết nốt

4 Ngày hôm sau thì con Koona chết

1 P83 Là sự rời bỏ mãi mãi sự sống

Chết nghĩa là ngừng chuyển động DEATH IS STOPPING went first (the two mongrels) but going in the end On the next day Koona went (Death) away from the lives of the living (Death) as a cessation of movement

DEATH IS PASSING OUT (Death) as a passing out

No transla tion availab le

the grip of Death Nanh vuốt của cái chết 1 + use a different image (more specific) DEATH IS AN ANIMAL/A HUMAN

(C25)

RAPIDITY IS LIGHT His splendid body flashed forward Cơ thể tuyệt vời của nó nhịp nhàng vun vút 3 RAPIDITY IS WIND

Con thỏ tuyết băng băng tiến về phía trước

The snowshoe rabbit flashed on ahead

Buck chợt hiểu 4

In a flash Buck knew it

The whip flashed out Ngọn roi liền vun vút quất xuống 3 RAPIDITY IS WIND

Days flashing in the heels of day Ngày nối ngày vùn vụt trôi qua RAPIDITY IS WIND

Nó phản xạ nhanh như chớp

He responded with lightning-like rapidity

Nhanh như chớp 1

like a flash Buck struck

RAPIDITY IS SHOOTING The loaded sled shot downhill chiếc xe chở nặng đổ dốc lao xuống sát gót chúng 3 RAPIDITY IS FLYING

3 RAPIDITY IS FLYING

Francois há hốc miệng ngạc nhiên khi trông thấy hai con chó phóng vọt ra

Francois was surprised, too, when they shot out in tangle from the disrupted nest...

Buck vừa phóng vụt qua

Buck shot past him 3 RAPIDITY IS FLYING

giật mình trong mơ (Buck)

He wrestled with bad dreams 3 STATES ARE CONTAINERS

ABSTRACT STATES/PHENO MENA ARE CONCRETE OBJECTS

1 đặt trọn niềm tin rằng

putting all his faith in that

4 hát vang

They lifted a nocturnal song

Không gian lặng phắc

A pause seem to fall 4 + perspective change

Nhiệt độ ổn định ở mức âm năm mươi

Temperature dropped to fifty below zero and remained there the whole trip

trước khi bóng đêm bị bình minh xua tan

Before the darkness fell which gave warning of dawn

4 Nó vùng thức dậy

He would shake off his sleep

Sau khi tất cả đã hoàn hồn 4

After they had caught their speech

Nó chỉ đột nhiên bị thôi thúc phải làm vậy

Irresistible impulses seized him

1 As twilight fell P80

Khi hoàng hôn buông xuống

a panic seized the Yaheets Lũ người Yaheets hoảng loạn tột độ

Like a moment’s pause fell Bầy sói thoáng chựng lại kinh ngạc

1 P41

INACTIVITY IS DEAD Instincts became alive again bản năng lại trỗi dậy mãnh liệt

Khu trại bỗng đâu nhốn nháo

The camp is suddenly discovered to be alive with skulking furry forms

the instincts long dead became alive again bản năng nguyên thủy đã chết lịm từ lâu, nay cũng trỗi dậy trong nó

Dolly đột nhiên phát dại 1

CHANGE IS MOVEMENT Dolly went suddenly mad

He had never seen a dog go mad Buck nào đã thấy một con chó hóa dại bao giờ

Lũ chó lờn mặt (đến nỗi thách thức lại cả Spitz)

They grew equal (to challenging his authority)

Dường như có điều gì đó không ổn đang diễn ra

Something had gone wrong with him

Mùa đông ảm đạm thê lương đã nhường chỗ cho mùa xuân với tiếng rì rầm của sự sống thức dậy

The ghostly winter silence had given way to the great spring murmur of awakening life

1 Buck

He went wild with happiness Mặc dù sung sướng đến phát cuồng

The wild current went wilder Con nước dữ điên cuồng xoay cuộn

P85 4

the tale grows worse Rồi chuyện còn tệ hơn nữa

nền tuyết đẫm ánh trăng 1 (C30)

LIGHT IS WATER the moon-flooded snow

Dưới ánh trăng vằng vặc 4

the moonlight streamed

Nguy to đến nơi rồi 4

TROUBLE IS WATER trouble was brewing

ngập lụt trong những lời mời rượu

(Perrault and Francois) were deluged with invitations to drink

This lost mine was steeped in tragedy Cái mỏ được che phủ bởi vô số những thảm kịch 3 TROUBLE IS DARKNESS

they’re as weak as water Mấy con chó này mềm như bún rồi 1 + use a different image

LESS IS DOWN 1

Their strength went down Lũ chó vẫn suy sụp từng ngày

(Buck)

ARGUMENT IS WAR 1 + use a different image

Both Perrault and François bombarded him with curses cả Perrault và Francois tới tấp ném nồi niêu xong chảo lẫn những lời quát tháo chửi rủa

He said softly Anh dịu dàng nói 4

HEARING IS TOUCHING

(C35) 1

SEEING IS TOUCHING His eyes never off his master Đôi mắt lo âu không rời khỏi chủ lấy một khắc

Hơn chục cặp mắt trong quán đang đổ dồn vào anh

The eyes of a dozen fixed upon him

SPEECH IS WEAPON They became sharp of speech Những lời gay gắt chì chiết lúc (nào cũng đậu

sẵn trên môi)

THEORIES ARE NAILS Gã bèn áp luận thuyết lên bầy chó Hal’s theory

He hammered it into the dogs with a club

(one must get harden ed)

4 (C38)

SILENCE IS DOWN The crowd fell silent Dường như chả ai để ý đến câu nói ấy

Master minor programme thesis English teaching methodology: Translation procedures applied in the English - Vietnamese translation of the conceptual metaphors in the novel “The call of the wild”

To achieve this aim, the following objectives are set: Identifying the conceptual metaphors present in the English novel and their linguistic expressions; comparing the conceptual metaphors in the English source text and the Vietnamese target text to reveal the translation procedures used.

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES & INTERNATION STUDIES FACULTY OF POST-GRADUATE STUDIES

NGUYỄN TUẤN MINH

Code: 8220201.01

HANOI – 2019

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES & INTERNATION STUDIES FACULTY OF POST-GRADUATE STUDIES

NGUYỄN TUẤN MINH

Field: English Linguistics Code: 8220201.01 Supervisor: Dr. Huỳnh Anh Tuấn

HANOI – 2019

Translation procedures

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Master minor programme thesis English teaching methodology: Translation procedures applied in the English - Vietnamese translation of the conceptual metaphors in the novel “The call of the wild”

To achieve this aim, the following objectives are set: Identifying the conceptual metaphors present in the English novel and their linguistic expressions; comparing the conceptual metaphors in the English source text and the Vietnamese target text to reveal the translation procedures used.

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES & INTERNATION STUDIES FACULTY OF POST-GRADUATE STUDIES

NGUYỄN TUẤN MINH

Code: 8220201.01

HANOI – 2019

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES & INTERNATION STUDIES FACULTY OF POST-GRADUATE STUDIES

NGUYỄN TUẤN MINH

Field: English Linguistics Code: 8220201.01 Supervisor: Dr. Huỳnh Anh Tuấn

HANOI – 2019

Translation procedures

Có thể bạn quan tâm

Tài liêu mới

AI tóm tắt

Giới thiệu tài liệu

Đối tượng sử dụng

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Nội dung tóm tắt

Giới thiệu

Về chúng tôi

Việc làm

Quảng cáo

Liên hệ

Chính sách

Thoả thuận sử dụng

Chính sách bảo mật

Chính sách hoàn tiền

DMCA

Hỗ trợ

Hướng dẫn sử dụng

Đăng ký tài khoản VIP

093 303 0098

support@tailieu.vn

Phương thức thanh toán

Theo dõi chúng tôi

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