Luận văn Tiếng Anh Harry Potter and the Prisoner of Azkaban and Harry Potter and the Deathly Hallows

lizing and building up objects and events, an essential part of comprehension and reproduction process The cohesive level : encompassing both comprehension and reproduction, presenting an overall picture. The level of naturalness : constituting a band within which the translator works, concerning only reproduction In addition, Bell (1991) and Larson (1984) illustrate translation as a process to achieve the final product in a clear way by two translation models as followed: Memory Target language text Semantic representation Synthesis Analysis Source language text Figure 1: Bell’s translation model (1991, p.21) Translation Text to be translated MEANING Figure 2: Larson’s translation model (1984, p.4) Both models emphasize two major steps of translation process: First, the translator analyzes the source language text to discover its meaning, or the semantic representation and the author’s intention and implication. Then, all these factors are synthesized and re-expressed into the target language. Obviously if the source text is wrongly analyzed, the translation will fail to render the author’s intention. Therefore, reading comprehension of the source text is vitally important for the success of a translation, particularly in translating metaphoric texts, where the meaning is normally hidden. In further discussion, there’re three major stages of translation process , as syntactic, semantic and pragmatic processing. Although scholars introduced some other models of translation process, still the two presented above are considered as the core of translation process. II.1.2.2. Translator II.1.2.2.1. What is a translator? It is not the truth that a person knowing at least a foreign language could be a translator. That a language learner may be proficient at that language does not always mean he could render smoothly the meaning of a written or spoken text into his mother tongue. In addition to conveying the lexical meaning, translation requires the translator to respect other important factors such as the author’s implication and literary style. In other words, as humorously stated by Newmark (1969, p.85) “any fool can learn a language…but it takes an intelligent person to become a translator” So a translator, is a billingual mediating agent between monolingual communication participants in two different language communities (Bell, 1991). More clearly, translator was explained that: it decoded messages transmitted in one language and re-encodes them in another. II.1.2.2.2 Translator competence So far the general concept of translation and the work of a translator have been discussed. Accordingly what is the competence required to be a professional translator? Newmark (1995) assumes that “a translator has to have a flair and a feel for his own language” or in other words, a translator has to “sixth sense”, compounded of intelligence, sensitivity, intuition, and knowledge. In his point, in translating process, these factors directly affect translation methods and procedures applied by the translator, and therefore, determine translation quality. Knowledge of the subject area is so vast and no translator could know all topics from science, technology, socio-economic, political issues, to literary and philosophical works. However, it is admitted that a good language learner can translate a scientific document better than a scientist with poor language knowledge. Consisting with his previous explanation of a translator, Bell (1991, p.37) adds to the stated translator’s knowledge-base the decoding skills of reading and the encoding skills of writing. He comes to a condensed conclusion that a translator must know: How propositions are structured ( syntactic knowledge) How clauses can be synthesized to carry propositional content and analyzed to retrieve the content embedded in them ( semantic knowledge) How the clause can be realized as information-bearing text and the text decomposed into the clause (pragmatic knowledge). All these views on translator competence have had great and useful contribution to translators of any language. In addition, it is undeniable that practice and experience in translation are also important to success of any translator, particularly to newcomers. II.1.3. Equivalence in translation II.1.3.1. Definitions of equivalence in translation As mentioned above, equivalence is considered the central concept of translation studies, yet theorists’ approaches to equivalence are so different. Such scholars as Catford (1965), Nida and Taber (1969) claim that translation bases itself on equivalence relation, hence, equivalence is the necessary condition for translation: “translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style” (Nida and Taber,1969/1982,p.12). On the contrary, Snell- Hornby (1988) and Gentzler (1993) regard equivalence as irrelevant to or damaging translation, even as an obstacle to translation. The middle- course representative is Baker (1992) to whom equivalence is a useful category for describing translation. In spite of different approaches, almost all theorists share agreement that there is no such thing as absolute equivalence in translation due to differences in grammatical rules, forms, expressions, etc. between two languages. Therefore, there are many ways to define what kind of equivalence should be aimed at in order to achieve the best equivalent effect. II.1.3.2. Types of equivalence Basing on text meaning, Koller ( 1995) classifies equivalence in translation in five categories : 1. Denotative equivalence: source language and target language words refer to the same thing in the real world. For example: - Tomato (a soft fruit with a lot of juice and shinny red skin that is eaten as a vegetable either raw or cooked) - Cµ chua ( mét lo¹i qu¶ mÒm, nhiÒu n­íc, vá bãng ®á, cã thÓ ¨n sèng hoÆc nÊu chÝn) 2. Connotative equivalence: in addition to denotative value, source and target language words should produce the same communicative values in the mind of native speakers of the two languages. For example: - Your Majesty. - Mu«n t©u BÖ H¹! 3. Text- normative equivalence: source and target language words use the same or similar text types in their respective languages. For example: - Your faithfully, - KÝnh th­, 4. Pragmatic equivalence: source and target language words have the same effect on the reader or mainly aiming at the receiver to whom the translation is directed. For example: - She’s a cunning fox. - Mô giµ quû quyÖt. 5. Formal equivalence: source and target language words have the same formal aesthetic features, orthographic or phonological features For example: - To be, or not to be: that’s the question (Shakespeare, Hamlet) - Sèng hay kh«ng sèng-®ã lµ vÊn ®Ò Nida and Taber (1982) views equivalence as merely two types: Formal correspondence: focuses attention on the message itself, in both form and content. Dynamic equivalence: based on “ the principle of equivalent effect” Meanwhile, Baker (1992) identifies equivalence in translation more comprehensively as equivalence at and above word level; grammatical equivalence; textual equivalence; and pragmatic equivalence Though from theorists’ point of view equivalence could be categorized in different ways, it is the translator to decide when priority should be given to either form and meaning of the text to translate. This matter also concerns translation methods and procedures, which are discussed right in the next part. II.1.4. Translation methods Translation, as mentioned, is viewed as a process and a product. Translation methods provide translators with a theoretical background of how to translate in the most appropriate way. In other words, the final products are certainly different from each other in form, style, meaning and value. It is apparently the translator to have his own option among these methods so as to achieve the most satisfied final translation. In translation studies, the translation methods suggested by Newmark( 1985, p.45-53) are highly appreciated. He introduces eight methods in the form of a flattened V diagram: Source language emphasis Target language emphasis Word-for–word translation Adaptation Literal translation Free translation Faithful translation Idiomatic translation Semantic translation Communicative translation Newmark explains word-for -word translation is “the interlinear translation” where “ the source language word-order is preserved and the words translated singly by their most common meanings, out of context” ( p.45-46). As for literal translation, “the source language grammatical constructions are converted to their nearest target language equivalents but the lexical words are again translated singly, out of context” (p.46). Faithful translation “attempts to reproduce the precise contextual meaning of the original within the constraints of the target language grammatical structures” (p.46). In other words, it transfers cultural words but preserves lexical and grammatical abnormality. In the right wing emphasizing the target language, adaptation is “ the freest form of translation” (p.46), mostly used for plays, poetry and songs. Free translation by nature could be regared as in trailingual translation since it is usually a paraphrase much longer than the original text. Idiomatic translation also reproduces the message of the original text but “tends to distorts nuances of meaning by preferring colloquialisms and idioms where these do not exist in the original” (p.47) Among these eight translation methods, semantic translation and communicative translation fulfill the two main aims of translation, which are, first, accuracy, and second, economy “(19995,p.47). Besides, they “treat the following items similarly : stock and dead metaphors, normal collocations, technical terms, slangs, colloquialisms, standard notices, phaticism, ordinary language” However, there are clear differences between semantic and communicative translation. Semantic translation emphasizes the source language while communicative translation the target language. Hence, semantic translation is author-oriented, written at the author’s linguistic level and is used for “expensive” texts. . In semantic translation, the translator “follows the thought process of the author” , i.e being faithful to the author’s style, word choice, expression, etc Meanwhile, communicative translation is reader-oriented, written at readers’ linguistic level and is used for “informative” and “vocative” texts. In communicative translation, author’s status is not significant. The importance lies in information conveyed and whether readers could understand it. The translator, therefore, is allowed to edit or correct the source language text if necessary, so that his translation is not only accurate but also comprehensible to general readers. Bearing in mind characteristics of each translation methods could be very helpful for translators, particularly I the phase of synthesizing semantic meaning and re-expressing it into the target language. II.2. Metaphor II.2.1. Definitions Metaphor is one of the literary devices, belong to figurative language. The longman Dictionary of Contemporary English says that: “when a word or phrase is used in a figurative way, it is used about something different from what it normally refers to, to give you a picture in your mind” ( Ldoce.1995, p.515) . So, in other words, metaphor or the figurative language is an imaginative comparison between two unlike object or is language that directly compares seemingly unrelated subjects. In the simplest case, this take the form : “ The [ first subject] is a [ second subject] “. More generally, a metaphor is a rhetorical trope that describes a first subject as being or equal to a second subject in some way. According to An introduction to literary study written by Nguyen Trung Tanh, metaphor is the figure of speech expressing indirectly ( by implication not using as or like ) a resemblance in one or more points of an object in one class to an object of another class ( in general figurative language broadly ). In linguistics, metaphor is one of the most conventional notions frequently mentioned with metonymy, synecdoche, hyperbole, litotes and irony, metaphor is traditionally defined as the hidden comparison, the transference of meaning, “ the transfer of a word or phrase to an anomalous context” or “ the transfer of concepts between domains or semantic fields” ( Backman 1991 ). In the light of translation studies, Larson defines metaphors as grammatical forms which represent two propositions in the semantic structure, as any figurative expression: the transferred sense of physical word, the personification of an abstraction, the application of a word or collocation to what it does not literally denote. In conclusion, metaphor is defined as the figurative language, which is an imaginative comparison between two unlike object, in which the characteristics of quanlities of one object are applied to the other or contrast them to one another, without using as or like . For examples "I am a rainbow" is an example of metaphor because it is comparing two nouns, a person, and a rainbow, but does not use like or as. "I am not anger" is an example of metaphor because it is contrasting two nouns If you give someone a cold stare or an icy look, it mean you took on the qualities of the winter to refer that you feel unfriendly and lack warmth toward them If you say: “I’m afraid I’m at sea with his math problem” . It mean you are not good at math and completely nervous and do not know what to do with his math problem. Therefore, metaphors are for the purpose of cognition and aesthetics and always concern illusion and imagination. He comes to conclusion that a metaphor is a kind of deception, often used to conceal an intention ( Newmark,1995, p.104) II.2.2. Types of metaphor There are a lot of ways to categorize the metaphors. The more commonly identified types of metaphor are that : extended metaphor, dead metaphor, and synechdochic metaphor. Other types of metaphor have been identified as well which not as universally accepted : active metaphor, absolute or paralogical metaphor, experiential or learning metaphor, complex metaphor, compound metaphor, submerged metaphor, root metaphor, conceptual metaphor , dying metaphor and implied or unstated metaphor. In linguistics theory, metaphors are divided into three categories : living metaphor, faded metaphor and dead metaphor. While Newmark (1995,p.106-113) suggests six types of metaphors, namely : dead, cliche, stock, adapted, recent and original metaphor ; Nguyen Trung Tanh considers four types of metaphors : personal, extended, mixed and dead metaphor, Larson views them as live and dead metaphor , which timely are for this research’s purpose. Dead metaphors are quite familiar idiomatic expressions that have been used for a long time and readers could understand them immediately without thinking of the comparison on which they were based. In other words, dead metaphors are idioms that could be looked up in dictionaries. For example: The leg of the table Run into debt Foot of the stairs The head of state Foot of the class Live metaphors are not often easily understood at one and readers should base themselves on the context to find out the hidden meaning. For example : From the distance the tractor appeared to be floating over the hills riding up to their crest and down to their hollows, the wheat undulated as the wind paned over it making waves.( Larson, 1984,p.250) Larson states all italic words are live metaphors, making a sequence of metaphors in which the harvest of wheat is compared to the ocean. Live metaphors are frequently used not only in literary words but also in other fields and subjects of writing: science, technology, economics,… The following sentences are examples: The relatively low contribution of technology to the economy is likely to turn from a curse into a blessing this year. The 20th century began with powerful countries competing to take advantage of Earth. As an outcome of their hunger for power, the Earth was abused, treatedly badly. Now people all over the world are living with the problems caused by this greed. This, in turn, leads to the following criteria for distinguishing living from dead metaphors: Only when one can no longer see evidence of life, can a metaphor be officially declared dead: but a metaphor- living or dead – is always new and alive to someone hearing it for the first time. Thus this distinction seems far more scholastic than practical. The boundary between live and dead metaphors is supposed to be very hazy, depending on cultural and linguistic features of each language. Besides, a metaphor may be dead in a certain language but totally a live one in another. The following part of the graduation research paper regards metaphors as live and dead metaphors and discusses how to recognize metaphoric cases and problems evolved in translating metaphors. II.2.3. Recognizing a metaphor II.2.3.1. Metaphor and simile Metaphor and simile are two of the best known tropes and are often mentioned together as examples of rhetorical figures. Metaphor and simile are both terms that describe a comparison Simile is the comparison of two unlike things, it express directly and explicitly a resemblance in one or more points of an object of one class to an object of another class, use “ like” or “ as” Metaphor, actually is a condensed simile for its omit “as” or “like”. It is a shortcut meaning, it sets two unlike things side by side and makes us see the likeness between them For example: When Robert Burns wrote “my love is like a red, red rose “he used a simile. But when Robert Herrick wrote “You are a tulip” he used a metaphor. The simile is always poetic, while the metaphor always has a ring of truth. Typically, needing further explanation, it’s probably a simile but making instant sense, it’s most likely a metaphor ( perhaps this is why metaphors readily become accepted into language as “ dead metaphors” while there is no such thing as a “dead metaphor” II.2.3.2.Metaphor and idiom The Cambridge dictionary defines Idiom is a group of words whose meaning considered as a unit is different from the meanings of each word considered separately. And metaphor is an expression that describes a person or object by referring to something that is considered to possess similar characteristics Very often, an idiom has no association to metaphor, being simply a phrase that becomes adopted by language as if a single word. These idioms are not readily confused with metaphor, though there are times when an idiom is also a metaphor or metaphor system. A good example is the "carrot and stick". The "carrot and stick" idiom refers to the use of enticement and punishment to motivate a horse or donkey. The carrot was dangled before the animal as a lure, while the stick was used to reprimand stubbornness. Without knowing the relationship between carrot and stick, the group of words seem out of place in a sentence, which is central to its identification as an idiom. However, in its common use, this idiom makes metaphorical equations, such as this one: Iran: West’s carrot and stick method failed Here, the West is seen as making the following equations: Iran is equated to a donkey, being stubborn and unwilling to change its position. Trade incentives are equated to the carrot, aimed at luring Iran from its current position. U.N. sanctions are equated to the stick, used to force a change in Iran's position. The West is equated to the farmer, and is assumed by this model to own or control Iran. Extending this further, the West may accuse Iran of "digging in its heels" as a way of protecting its position. For example, since the stick equals sanctions of some kind, say, cutting grain shipments to Iran, Iran may "dig in its heels" by stockpiling current grain supplies in preparation. The donkey of this metaphor system has as many parts as we choose to give it. The way to spot those times when an idiom behaves as a metaphor is to look for signs of an equation being made, then check to see if the equation can be extended, as you see in the above example. There may even be times when you discover that it never really was an idiom after all. It's only natural - cases of mistaken identity are very common among idiom, metaphor and simile. II.2.3.3. Analyzing a metaphor According to Larson recommends that a metaphor : live or dead metaphors could be analyzed into two propositions of four parts, namely : topic, image, point of similarity and non figurative equivalent Topic is what mentioned in the first proposition, usually non figurative Image is the figurative topic of the second proposition, what is compared with the topic of the first proposition Point of similarity is found in the common of both proposition Non figurative equivalent is optional as it could be identified in case the propositions are event proposition : Larson (1984,p.194) states that if the proposition has an event: an action, an experience, or a process ) as the central concept, it is an event proposition, for example: The boy ran (action) John saw the cow ( experience) The ice melted (process) Example 1: She is as beautiful as an angel Two propositions: 1.She is beautiful 2. The angel is beautiful Topic: she Image: the angel Point of similarity: beautiful Example 2: The righteous will give you the crown of life Two propositions : 1. (The officials) give (the victorious athlete) a crown 2. (God), who judges righteously, will give you (eternal life) Topic: God, who judges righteously Image: officials Point of similarity: receive a reward for doing well Non-figurative meaning: will give you eternal life From Larson’point of view, understanding correctly a metaphor depends on the correct identification of topic, image, point of similarity, and nonfigurative equivalent. Sense Image Object Newmark (1995, p.104-105) introduces another way to analyze a metaphor. He states the notions of object (what is described by the metaphoric expression), image (the picture conjured up by the metaphor and sense the literal meaning of the metaphor) Though different in nomination and categories, Larson and Newmark have shown us very clear ways to find out the implicit meaning of a metaphor. That of Newmark is supposed to be more practical and easier for students of English to apply. A conclusion could be drawn is that the sense of any metaphor see itself on the similarity between two different thing, literal or word-for-word translation may easily lead to complete misunderstanding and illogic interpretation in the target language. The following part discusses the problems of metaphor translation in details II.2.3.4. Problems in understanding and translating metaphors Understanding dead metaphors is not quite problematic as their meaning could be found in dictionaries. Once the correct meaning is identified, translation is not quite challenging task if the translator bases himself on the context given. For example: [...] “you’ll keep a civil tongue in your head when you’re talking to Marge” (Rowling,1999,9.19) To keep a civil tongue in one’s head : speak politely [...] “mµy liÖu hån ¨n nãi cho tö tÕ khi nãi chuyÖn víi c« Marge, nghe ch­a! (translated by Ly Lan, 2002, p.28) “God, this place is going to the dogs” ( Rowling, 1999, p.113) To go to the dogs : to get into a very bad state “Chóa ¬i, n¬i nµy ®iªu tµn hÕt chç nãi!” ( translated by Ly Lan,2002,p.161) In terms of live metaphors, not all cases are difficult to understand as the metaphoric sense and image of the source language are equivalently used in the target language. For example: “... but your sister was a bad egg” ( Rowling, 1999, p.28) Object : your sister Image ; a bad egg Sense : a person that no one can stand “ ...nh­ng em g¸i cña chÞ lµ mét c¸i trøng ung” ( translated by Ly Lan,2002,p.41) However, from Larson’s point of view, translating other cases of metaphors is not a piece of cake due to several reasons. First, the image used in the metaphor may be unfamiliar with speakers of the target language. For example: “His eyes were of the blue of the forget-me-not...” Barrie, 1993, p.57) The forget-me-not, a small wild plant with light blue flowers, does not grow in tropical regions; thus, the image of this flower is strange to Vietnamese readers Second, the topic of the metaphor (the object) or the point f similarity (sense) may be implicit and hard to identify, or it could even be understood differently from culture to culture, leading to inaccurate interpreting and translation. For example, the sentence “He’s a potato” may imply “He’s lazy and inactive” in English, while in Vietnamese, it could be interpreted as “He’s a kind man” II.3. Translating metaphors Acknowledging the problem above, Larson’s (1984) claims that translators should first define whether the metaphor is live or dead ( by looking it up in dictionaries or reference documents ) With respect to dead metaphors, it could be translated directly, communicatively into the target language For example: “ I hope we’ll understand each other perfectly because we’re in the same boat” T«i hi väng chóng ta sÏ hiÓu nhau hoµn toµn bëi v× chóng ta cã cïng c¶nh ngé. (Tr­¬ng Quang Phó,2002,p.32) Granting most-favoured nation status to Vietnam is sure to be controversial. And given the Clinton Administration’s foreign policy woes, this issue is likely to be stuck on the back burner. Cho Viet Nam ®­îc h­ëng quy chÕ tèi huÖ quèc ch¾c ch¾n lµ ®iÒu g©y tranh luËn. Vµ nÕu xÐt nh÷ng chuyÖn r¾c rèi mµ chÝnh s¸ch ngo¹i giao cña chÝnh quyÒn Clinton gÆp ph¶I th× vÊn ®Ò nµy ch¾c ch¾n sÏ bÞ t¹m g¸c sang mét bªn trong mét thêi gian n÷a.( Newsweek) “Bob, do you have your head in the clouds ?” the teacher said ThÇy gi¸o hái: “ Bob, ®Çu ãc anh ®ang ë ®©u, trªn m©y ch¾c?” ( Tr­¬ng Quang Phó, 2002, p.33) “ He’s been through the mill, this one” ( Rowling,19999, p.59) “ Chµ, con vËt nµy ®· tõng kinh qua gian khæ vµ thö th¸ch gay go ®©y !” (translated by Ly Lan,2002,p.85) Regarding live metaphors, Larson comes to five ways to translate them. The metaphor may be kept if it sounds natural and is correctly understood by readers of the target language For example: Technology is the key of our success C«ng nghÖ lµ ch×a khãa cña thµnh c«ng To die will be an awfully big adventure!” C¸i chÕt lµ mét cuéc phiªu l­u lín All wanted blood [...] TÊt c¶ ®Òu kh¸t m¸u [...] A metaphor may be translated as a simile For example: My daughter is a white dove Con g¸i t«i xinh x¾n nh­ chim bå c©u tr¾ng “ He [...] felt a bucketful of ice cascade into his stomach” “Nã bçng cã c¶m gi¸c nh­ võa bÞ mét x« n­íc ®¸ xèi th¼ng xuèng gan ruét” (translated by Ly Lan, 2002, p.16) An equivalent metaphor of the target language may be substituted. For example: “[...] they were cooking up their own version of how Malfoy had been injured” ( Rowling,1999,p.119) “[...] mÊy ®øa ®ã ®ang thªm m¾m thªm muèi cho c©u chuyÖn Malfoy bÞ th­¬ng thµnh trÇm träng” (translated by Ly Lan, 2002, p.168) The metaphor may be kept and the meaning explained For example: If God closed all the doors, somewhere he opens a window If God closes all the doors, somewhere he opens a window There is always at least a way to escape from difficulties NÕu Chóa ®ãng hÕt c¸c cöa lín l¹i, h¼n lµ ®©u ®ã Ngµi ®· më ra mét khung cöa sæ. Lu«n lu«n cã mét lèi thãat, mét c¸ch thãat khái khã kh¨n. The meaning of the metaphor may be translated without keeping the metaphorical imagery. For example: It is reasonably optimistic that the global economic is finally diggng itself out of a very deep hole. Hßan tßan cã c¬ së ®Ó l¹c quan r»ng cuèi cïng nÒn kinh tÕ thÕ giíi ®ang dÇn thãat khái t×nh tr¹ng khã kh¨n. The examples prove that Larson’s ways of translating metaphors are highly practical and useful, particularly for students of translation. These five ways could be summarized as followed : Reserving metaphors Translating as similes Using target language equivalent metaphors Reserving metaphors and giving explanations Removing metaphorical imagery In addition to theoretical issues, such factors as the author’s writing style, the translator’s talent, and the readership contribute to the success of a translation. The next chapters further discuss how theories are illustrated in metaphoric translation by a professional translator and students of English department. Chapter III: Translation of metaphors by the professional translator This chapter is devoted to the analysis of the translaion of metaphors in the two books Harry Potter and the Prisoner of Azkaban and Harry Potter and the Deathly Hallows (by J.K. Rowling). III.1. Reasons for choosing Harry Potter and the Prisoner of Azkaban and Harry Potter and the Deathly Hallows Metaphors are widely used in all subjects of writing. Referring to children’s literature, Harry Potter and the Prisoner of Azkaban and Harry Potter and the Deathly Hallows are particularly appropriate for a research on live metaphors due to several reasons First, they are two of Harry’s Potter‘s books- of children’s favorites of all time with millions of copies have been sold over the world. In other words, millions of children of different generations have enjoyed reading the wonderful language and meaningful lessons of these books Second, they are works of a genius writer, whose talent and imagination, even life philosophy, through the books, have fascinated readers of many different cultures and greatly influenced their thinking and attitude towards life. Live metaphors in the word of Harry Potter are used not only frequently but also imaginatively, which contributes to successfully creating a new lively in readers’ mind. The third and also the last reason is that the Vietnamese translator, Lý Lan, professional, have gained certain success, reputation and prestige among Vietnamese translators. Apart from being a translator, Lý Lan is a teacher of English, a talented poet, journalist, who has been granted a M.A. degree in Literature in the United States after winning a Fulbright scholarship. Thanks to her talent and knowledge, the Vietnamese versions could be said to have reached the natural level of translation. The language is very familiar with Vietnamese little readership, and the books have undeniably helped nourish the souls of thousands of Vietnamese readers The three reasons above make researching “how to translate some of metaphors in Harry Potter and the Prisoner of Azkaban and Harry Potter and the Deathly Hallows not a boring task of reading, analyzing and comparing but actually a great pleasure. III.2. Translation of dead metaphors in Harry Potter and the Prisoner of Azkaban and Harry Potter and the Deathly Hallows As discussed in the previous chapter, dead metaphors are words which have lost their direct meaning and used figuratively. In general, they are idioms that could understand immediately or look up in dictionaries. So , translate dead metaphor seems to be not problem Original versions Translation by professional translator Dead metaphors Eat, Harry, you look dead on your feet. (Rowling,1999, p.44) dead on one’s feet: extremely tired He’s been through the mill, this one (Rowling, 1999, p.59) to be through the mill: to have a difficult time And the laughter died at one (Rowling, 2006, p.16) to died at one: stop doing st immediately “… particularly in the light of his immediate plans “ ( Rowling, 2006, p.19) in the light of : taking account of I don’t think Egypt agreed with him.( “him’ refer to a mouse that get sick after returning England from Egypt ) ( Rowling, 1999,p.57) not agree with sb : to make sb feel ill/sick ¡n ®i, Harrry, tr«ng cËu ®ê ®Én c¶ ng­êi råi. ( transslated by Lý Lan, 2002, p.46) “Con vËt nµy ®· tõng kinh qua gian khæ vµ thö th¸ch gay go ®©y” (translated by Lý Lan, 2002, p.85) Vµ tiÕng c­êi nh¹o t¾t ngay tøc th× (translated by Lý Lan, 2007, p.18) “ … ®Æc biÖt cho nh÷ng kÕ ho¹ch tr­íc m¾t” (translated by Lý Lan, 2007, p.21) Coi bé khÝ hËu Ai CËp kh«ng phï hîp víi nã l¾m. ( translated by Lý Lan, 2002, p.83) III.2. Translation of live metaphors in Harry Potter and the Prisoner of Azkaban and Harry Potter and the Deathly Hallows There five ways to translate a live metaphor namely reserving metaphors, translating as similes, using target language equivalent metaphors, reserving metaphors and giving explanations, removing metaphorical imagery. The author’s analysis of the two books has shown that all five ways are used by professional translator, Lý Lan. Though she may not know Larson’s view, the following examples are clear evidence for its high effectiveness and applicability. Original versions Translation by professional translator Reserving metaphors Harry’s stomach had a funny jolt ( Rowling,1999,p.5) They infest the darkest, filthiest places, they glory in decay and despair, they drain peace, hope and happiness out of the air around them ( Rowling, 1999, p.187) Their party was bathed in the moonlight (Rowling, 1999, p.380) Bao tö Harry thãt lªn mét c¸i thËt tøc c­êi! ( translated by Lý Lan, 2002,p.10) Chóng trµn vµo nh÷ng n¬i bÈn thØu nhÊt, t¨m tèi nhÊt, chóng vinh danh sù thèi r÷a vµ nçi tuyÖt väng, chóng rót c¹n sù yªn lµnh, niÒm hi väng vµ h¹nh phóc trong kh«ng khÝ chung quanh. ( translated by Lý Lan, 2002,p.260) C¶ ®oµn ng­êi t¾m trong ¸nh tr¨ng ( translated by Lý Lan, 2002, p.526) Translating As simile […]and felt a bucketful of ice cascade into his stomach (Rowling,1999,p.42) […] his heart doing a kind of drumroll in his chest (Rowling,1999,p.410) ‘Slightlycross-eyed, with shoulder-length white hair the texture of candyfloss” ( Rowling,2006,p.117) “Wave up on waves of crimson supporters was pouring over the bariers onto the field. Hands were raining down on their backs” (Rowling,1999, p.312) […] nã bçng c¶m gi¸c nh­ võa bÞ mét x« n­íc ®¸ xèi th¼ng xuèng gan ruét (translated by Lý Lan,1999,p.62) […]tr¸i tim nã nh­ thÓ ®ang ®¸nh trèng thóc trong lång ngùc ( translated by Lý Lan,2007,p.556) “ M¾t h¬i lÐ, tãc b¹c dµi tíi vai bång bång nh­ kÑo b«ng gßn’ ( translated by Lý Lan,2007,p.147) “ HÕt ®ît nµy ®Õn ®ît cæ ®éng viªn kh¸c tu«n qua hµng rµo ch¾n ®æ vµo s©n ®Êu. Nh÷ng bµn tay cø nh­ m­a vç trªn l­ng tôi nã liªn tôc.” (translated by Lý Lan, 2002, p.433-434) Using target language equivalent metaphors […]they were cooking up their own version of how Malfoy had been injured ( Rowling, 1999,p.119) “I suppose he’s told you the same fairy tale he’s planted in Potte’rs mind” ( Rowling,1999,p.390) ‘…and the laughter died at one” ( Rowling,2006,p.16) […] MÊy ®øa ®ã ®ang thªm m¾m thªm muèi cho c©u chuyÖn cña Malfoy bÞ th­¬ng thµnh trÇm träng h¬n “ T«i cho r»ng h¾n còng kÓ l¹i cho «ng nghe c©u chuyÖn hoang ®­êng mµ h¾n ®· b¬m vµo ®Çu ãc bän trÎ chø g×” ( translated by Lý Lan,2002,p.539) “... vµ tiÕng c­êi nh¹o t¾t ngay tøc th×” Reserving metaphors and giving explanations […] and instead of lazing around outside, the students were forced to remain inside the castle, trying to bully their brains into concentrating […] ( Rowling, 1999,p.314) The hanging man’s pupils were wide, dilated with fear, and they seemed to swell, bigger and bigger until their blackness swallowed Harry whole. (Rowling,2006, p.230) […] vµ thay v× nhong nhong ch¬i ë ngoµi tôi nã ë lú trong tßa l©u ®µi, t×m c¸ch o Ðp bé n·o tËp trung […] ( Translated by Lý Lan,2002, p.435) Hai con ng­¬i cña ng­êi ®µn «ng bÞ treo ng­îc trîn tr¾ng, në lín v× sî, vµ d­êng nh­ chóng tiÕp tôc tr­¬ng lín, cµng lóc cµng lín ®Õn khi nçi u tèi trong con ng­¬i ®ã nuèt chöng toµn bé con ng­êi Harry. ( Translated by Lý Lan, 2007, p.290.291) Removing metaphoric imagery “ She was the noisiest woman in the world […] (Rowling,1999,p.17) “Aunt Petunia, whose face had been buried in her handkerchief” ( Rowling,2006, p.40) “ Many of our oldest family trees become a little diseased overtime” ( Rowling,2006,p.16) ‘D× lµ ng­êi ®µn bµ täc m¹ch nhÊt trªn thÕ giíi” (translated by Lý Lan,2002,p.26) “D× Petunia n·y giê óp mÆt trong chiÕc kh¨n tay […]” (translated by Lý Lan,2007,p.49) “NhiÒu gia téc l©u ®êi nhÊt cña chóng ta vÒ sau trë nªn suy ®åi” (translated by Lý Lan,2007,p.18) The table illustrates the most typical examples for each way of translation suggested by Larson. Though translators have to base themselves on the context to decide the most appropriate way to translate, it has been found that reserving metaphors, using target language equivalent metaphors, and removing metaphoric imagery are mostly used. In the next part, cases in which metaphors are reserved or totally removed are further discussed to clarify ways of translating live metaphors used by translator III.2.1. Reserving metaphors The quotations show that in Harry Potter , either book 3 or book 7, live metaphors that sound natural and could be understood correctly by readers are kept in Vietnamese versions. In these cases, the object and metaphoric images are quite explicit and familiar with the target language. Readers could therefore easily understand the sense, the meaning of the hidden comparison. The reservation of metaphoric imagery contributes to create the beauty, imagination of the language, and is more of semantic than communicative translation. Reserving metaphors remarkably appear in the translation of Harry Potter and the Prisoner of Azkaban, with approximately 50% of live metaphors are translated this way, in both dialogues and descriptive passages. The density of reserved metaphoric images in the following extracts from Harry Potter and the Prisoner of Azkaban is particularly notorious. But something odd was happening. An eerie silence was falling across the stadium. The wind, though as strong as ever, was forgetting to roar. […] And then a horribly familiar wave of cold swept over him, inside him, […] Numbing, swirling white mist was filling Harry’s brain … ( Rowling, 1999,p.178) These sentences describe Harry Potter’s sudden fright, his innermost feeling and terror. With a series of live metaphors, the author brings readers into the sense of extreme fear that the character must experience. Thus in order to keep the uniqueness of the author’s stylistic language, the translator follows the author’s thought process and semantically transfers all the live metaphors by reserving their metaphoric images. Nh­ng cã mét c¸i g× ®ã bÊt th­êng x¶y ra. Mét sù im lÆng kú qu¸i võa phñ chôp xuèng vËn ®éng tr­êng. Giã, d­êng nh­ m¹nh h¬n bao giê hÕt, còng th«i gµo thÐt […] Vµ råi mét ®ît sãng l¹nh quen thuéc khñng khiÕp trµn qua nã, thÊu vµo bªn trong nã [...] S­¬ng mï tr¾ng xãa, xo¸y tÝt vµ l¹nh cãng ®ang trµn ngËp ®Çu Harry. (Translated by Lý Lan, 2002, p.248) It could be assumed that the Vietnamese version is successful in rendering the author’s message. Apart from that, the original text and the translated one are of great equivalence. Both texts have the same effects on the reader as well as the same formal aesthetic features. In short, semantic translation in general or reserving metaphoric imagery in particular proves to be a greatly effective way to translate live metaphors in expressive texts, which has been successfully employed by the translators. III.2.2. Using target language equivalent metaphors and removing metaphoric imagery Contrary to reserving metaphors, using target language equivalent metaphors and removing metaphoric imagery mean the translator translates without using original metaphors. In other words, the translator aims at the readership and the translation process comes to a final version written at readers’ linguistic level through communicative translation. readers of the two selected books are mostly children, whose vocabulary, thoughts and background knowledge are being formed. Therefore, a text full of complicated comparisons or polished, flowery words may bore and tire little readers. Moreover, one problem in translating metaphors, as mentioned in Chapter II, is that the metaphoric images may be unfamiliar with or rarely used in the target language. In both cases, to avoid ambiguity, keeping the meaning and removing the metaphoric image could produce a clear, easy-to-understand Vietnamese version. For example: “This was their first encounter with the fact that a full stomach meant good spirits; an empty one, bricking and gloom” ( Rowling, 2006, p.236) The italic sentence is not difficult to understand, but in the context, to translate suitably is not easy. In chapter fifteen “ The Goblin’s Revenge”, after some days out with no food , no shelter , three of them, Ron, Hermione and Harry suffered a lot of bad feelings, trouble with food even with emotion among them. Until they settled down in a far-flung field they managed to obtain eggs and bread. Therefore, we can analyze this sentence as followed: “A full stomach meant good spirits” Topic: stomach ( full of food) Image: person who get full stomach with food Point of similarity: contained relation, do anything with full of food Non-figurative equivalent: stomach can’t get good spirit which belong to person In that meaning, the translated version is quite satisfactory: “§©y lµ lÇn ®Çu tiªn tôi nã ®ông ®Çu víi c¸i thùc tÕ lµ cã thùc míi vùc ®­îc ®¹o: bông no th× tinh thÇn tèt, bông trèng kh«ng th× sinh c·i cä vµ rÇu rÜ” ( Translated by Ly Lan, 2007, p.298) However, in Harry Potter books, our translator, Ly Lan did hardly use this way than reserving metaphors to translate. In such case, though semantic and communicative translation methods are combined, the translator seemingly translates in amore communicative way. Anyway, through discussing some professional translation of live metaphors, it is concluded that five way for metaphoric translation which was mentioned in Chapter II are reasonable and highly effective. Moreover, communicative and semantic translations are two harmonious methods which should be combined in translation process Chapter IV: Conclusion There is completed with significant support, assistance and contributions from my teachers and peers in English Department, Hïng V­¬ng University. This last chapter recapitulates on the major issues discussed so far, and then provides implications, identifies limitations of the study, and finally puts forward some recommendations IV.1. Recapitulation This study has confirmed the nature of translation as a process ands a product, the notion of translation methods, particularly from Newmark point of view, and equivalence in translation. The role of the translator as the bilingual mediating agent in translation process has been clearly stated. Besides, competence needed for a translator, i.e. syntactic, semantic and pragmatic knowledge, and other necessary skills have been mentioned. The theoretical background has also discussed the notion of metaphors, issues related to evaluating metaphors and problems in translating them. Five suggestions to translate metaphors have been introduced on the basis of Larson’s study. Chapter III has discussed how to translate effective metaphors in Harry Potter books by the professional translator, Lý Lan, focusing on how Larson’s theory is reflected in her translation In the light of Newmark’s theory on translation methods and Larson’s view on translating metaphors, it is concluded that either semantic or communicative translation method has its own effect in translating metaphors. If applied appropriately, they could lead to highly equivalent translated versions IV.2. Implications of the research After discussing translation methods in general and examples in particular in Harry Potter and the Prisoner of Azkaban and Harry Potter and the Deathly Hallows, the following implications re-state students’ shortcomings and suggest some techniques in translating metaphors. In terms of existing shortcomings in metaphoric translation, the most common mistakes are those in word choice and expressions, source language knowledge, and literal translation Being aware of these shortcomings, it is hoped that the following suggestions would become useful techniques and tips for students to improve their translating skill Firstly, Larson’s ways of translating live metaphors prove to be highly effective. It is strongly recommended that they should be applied into translation practice Secondly, semantic and communicative translation methods are equally effective in translating metaphors. Semantic translation proves to be of great advantage, particularly to translating live metaphors. Beside, literal translation is likely to lead to wrong metaphoric translation. It is thus suggested that literal translation should not be used without great consideration of the translator. Thirdly, to successfully convey the meaning of a metaphor, understanding its context is of great importance. In theory, a metaphor could be analyzed in depth so that its meaning is explicit, some how out of context. In practice, especially in literary translation, due to the fact that metaphoric meaning may sometimes be rather ambiguous, a correct interpretation of context, as well as good knowledge of English grammar and semantics, could contribute to a higher level of translation equivalence. Lastly, apart from the presented suggestions on translating metaphors, it is recommended that translators should bear in mind the role of readership. As for children’s books, the importance lies in the fact that the target language version is as relevant as possible to children’s language, thought and emotion. All in all, translation in some certain meaning in a work of creativity and imagination. Knowing the way is far different from actually going on that way. In other words, theory and academic studies could considerably help, but only by enhancing language skills and widening background knowledge could a translator be more and more competent. IV.3. Limitations of the study Translation of metaphors is both a challenge and a pleasure. This minor study inevitably leaves behind a lot of matters concerning metaphors and translating metaphors due to m humble knowledge, experience in translation, and the limited time and materials. First, only English- Vietnamese translation of metaphors has been presented. Second, metaphors in this research merely categorized as live and dead ones, in which only metaphors are deeply discussed Third, two books selected for researching metaphors in Harry Potter’s books are both works of one author, one translator and both of fiction which in some meaning reduces the objectiveness of the research Fourth, This research is only pay attention to the theory and how it’s applied to Harry Potter books but not examine how students can apply those theory or not. And last, suggestions for metaphor translation mainly base on Larson’s academic study. Other scholars’ attitudes toward translation of metaphors are hardly mentioned. IV.4. Recommendations for further studies To overcome the stated limitations, for those who find the subject of metaphor translation interesting and worth paying attention to, it is recommended that further studies should be carried out to cover the existing drawbacks. Firstly, researches on translation of metaphors should be conducted in English- Vietnamese and Vietnamese English translation Secondly, metaphors should be classified into more minor categories instead on live and dead metaphors so that implications could be clearer and more detailed. Thirdly, in terms of literature, it is suggested that further studies should explore metaphoric translation in various books of different genres, written at different time with some famous translators. Then research results would be much objective and meaningful. Fourthly, If the research want to get more effect to students, it should give the theory in to the practice with students in Foreign Language Department. Lastly, it is recommended that translation of metaphors should be discovered more in other topics of writing, such as trade and business, science and technology, etc. All in all, though there is no such thing as key or perfect translation, hopefully this minor research could contribute to students’ understanding of translation studies and metaphors in translation and could be a useful material to help students improve translating skill. References nguyÔn hßa. 2004. Understanding English Semantics. Vietnam National University Publisher. ®ç minh hoµng. Translation Practice. VNU- Go Lege of Foreign Language. NguyÔn kim loan. 2000. English Literature. Education Publisher. nguyÔn trung t¸nh. An introduction to literature study. Ho Chi Minh city Publisher. Baker, mona. 1992. In other Words: A course book on translation. Routlege Lon Don Publishing. Catford, John C. 1995. A linguistic Theory of Translation: an Essay on Applied Linguistics. Oxford University Press Lon Don. 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