Bài tập điền từ tiếng anh jack london năm 2024

Để hoàn thành tốt các bài tập thì hiện tại đơn, trước hết bạn cần nắm vững lý thuyết về dạng ngữ pháp này.

1. Khái niệm

Thì hiện tại đơn [Present simple] là một thì trong tiếng Anh, được sử dụng để diễn tả sự thật hiển nhiên hoặc những sự việc xảy ra thường xuyên như thói quen, lịch trình, sự sắp xếp cố định.

2. Cách chia thì hiện tại đơn

2.1 Thì hiện tại đơn với to be

Đối với động từ to be, ta có các công thức sau:

[+] S + am/ is/ are + N/ Adj

[-] S + am/are/is + not +N/ Adj [is not = isn’t are not = aren’t]

[?] Am/ Are/ Is [not] + S + N/Adj? Wh- + am/ are/ is [not] + S + N/Adj?

Ví dụ:

• What are they discussing in the class? [Họ đang thảo luận về điều gì trong lớp học?]

• He is a hardworking student. [Anh ấy là một sinh viên chăm chỉ.]

• Jack is not my boyfriend. [Jack không phải là bạn trai của tôi.]

\>>> Tìm hiểu thêm: Lý thuyết mệnh đề quan hệ giúp bạn ghi điểm cao ở kỹ năng viết

2.2 Thì hiện tại đơn với động từ thường

Đối với động từ thường, công thức sẽ như sau:

[-] S + do/ does + not + V-infinitive + [O]…

[?] Do/ Does [not] + S + V-infinitive?

Ví dụ:

• Does she like to play tennis? [Cô ấy có thích chơi tennis không?]

• They play basketball in the park every afternoon. [Họ chơi bóng rổ ở công viên vào mỗi buổi chiều.]

• She doesn’t like to eat spicy food because it upsets her stomach. [Cô ấy không thích ăn đồ cay vì nó làm cô đau dạ dày.]

3. Dấu hiệu nhận biết thì hiện tại đơn

Trước khi thực hành với các bài tập thì hiện tại đơn [Present simple tense exercises], hãy cùng xem qua cách nhận biết loại thì này nhé!

Các trạng từ chỉ tần suất như:

• Always [luôn luôn]

• Often [thường xuyên]

• Usually [thường xuyên]

• Sometimes [thỉnh thoảng]

• Seldom [hiếm khi]

• Rarely [hiếm khi]

• Hardly [hiếm khi]

• Never [không bao giờ]

• Generally [nhìn chung]

• Regularly [thường xuyên]

Ví dụ: I often go for a walk in the park with my dog in the mornings. [Tôi thường đi dạo trong công viên cùng chú cún của mình vào buổi sáng.]

Ngoài ra, các từ sau cũng là dấu hiệu của thì hiện tại đơn:

• Everyday/week/month/year [mỗi ngày/ tuần/ tháng/ năm]

• Daily, weekly, monthly, quarterly, yearly [hàng ngày, hàng tuần, hàng tháng, hàng quý, hàng năm]

• Once/ twice/ three times/ four times… a day/ week/ month/ year… [một lần/ hai lần/ ba lần/ bốn lần… mỗi ngày/ tuần/ tháng/ năm]

Ví dụ: They have a team meeting monthly to discuss project updates and set goals for the upcoming month. [Họ có cuộc họp nhóm hàng tháng để thảo luận về tiến độ dự án và đặt mục tiêu cho tháng tiếp theo.]

\>>> Tìm hiểu thêm: 7 giới từ chỉ thời gian [Prepositions of time] phổ biến và cách sử dụng

Bài tập thì hiện tại đơn [Present simple tense exercises]

Dưới đây là các bài tập chia động từ thì hiện tại đơn mà bạn có thể luyện tập để ôn lại các kiến thức trên.

• 1. HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST – GRADUATE STUDIES ****** NGUYỄN THỊ HOÀN AN IN-DEPTH ANALYSIS OF THE ENGLISH – VIETNAMESE TRANSLATION VERSION OF JACK LONDON’S FAMOUS NOVEL “THE CALL OF THE WILD” [PHÂN TÍCH SÂU VỀ BẢN DỊCH ANH – VIỆT CUỐN TIỂU THUYẾT NỔI TIẾNG CỦA JACK LONDON “TIẾNG GỌI NƠI HOANG DÔ] MA MINOR THESIS Field: English Linguistics Code 60 22 15 HANOI, 2012
• 2. HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST – GRADUATE STUDIES ****** NGUYỄN THỊ HOÀN AN IN-DEPTH ANALYSIS OF THE ENGLISH – VIETNAMESE TRANSLATION VERSION OF JACK LONDON’S FAMOUS NOVEL “THE CALL OF THE WILD” [PHÂN TÍCH SÂU VỀ BẢN DỊCH ANH – VIỆT CUỐN TIỂU THUYẾT NỔI TIẾNG CỦA JACK LONDON “TIẾNG GỌI NƠI HOANG DÔ] MA MINOR THESIS Field: English Linguistics Code 60 22 15 Supervisor: Assoc. Prof. Dr. Lê Hùng Tiến HANOI, 2012
• 3. Pages Declaration ………………………………………………………………… i Acknowledgements ……………………………………………………......... ii Abstract …………………………………………………………………… iii List of Abbreviations ……………………………………………………… iv INTRODUCTION………………………………………………………… 1 I. Rationale for the study ………………………………………………. 1 II. Objectives of the study ……………………………………………… 1 III. Scope of the study ……………………………………………… 2 IV.Method of the study …………………………………………………. 2 V. Organization of the study……………………………………………. 2 CHAPTER I – LITERATURE REVIEW ……………………………… 3 I. What is translation? …………………………………………… 3 II. Literary translation ……………………………………………… 3 II.1. General characteristics of literary language ………………… 3 II.2. Problems of literary translation ……………………………… 5 III. Translation Quality Assessment……………………………… 6 III.1. Proposed models ………………………………………………… 6 III.1.1. Nida’s response - based approach……………………………… 6 III.1.2. Koller’s text - based approach…………………………………… 7 III.1.3. Peter Newmark’s comprehensive criticism approach………… 7 III.1.4. Julianne House’s functional – pragmatic approach…………… 8 III.2. Representation of Julianne House’s TQA model………………… 8 III.2.1. Covert and Overt Translation……………………………………… 8 III.2.2. Representation of J. House’s model……………………………… 9 CHAPTER II - ANALYSIS OF THE SOURCE TEXT, BASED ON J. HOUSE’S MODEL 11 I. Brief introduction of the chapter………………………………….. 11 I.1. The author Jack London………………………………………… 11
• 4. “The Call of the Wild”……………………………… 11 I.3. Introduction of Chapter 6………………………………………… 11 II. Discourse features of the source text……………………………… 11 II.1. Syntactic features……………………………………………………… 11 II.2. Textual features………………………………………………………… 19 III. Analysis of the source text based on J. House’s model……… 22 III.1. Dimension of language user…………………………………………… 22 III.2. Dimension of language use…………………………………………… 23 IV.Statement of function 28 CHAPTER III: COMPARISON BETWEEN THE SOURCE TEXT AND ITS VIETNAMESE TRANSLATION VERSION 29 I. Comparison between the source text and the target text based on J. House’s model ……………………………………………… 29 I.1. Medium……………………………………………………………… 29 I.2. Participation……………………………………………………… 30 I.3. Social Role Relationship………………………………………… 32 I.4. Social Attitude……………………………………………………… 33 I.5. Province…………………………………………………………… 35 II. Overtly Erroneous Errors………………………………………….. 39 III. Statement of Quality and Translation Type………………… 39 CONCLUSION…………………………………………………………… 42 REFERENCES…………………………………………………………… 45 APPENDIX………………………………………………………………… I
• 5. the study Over the past years, translation has been playing a crucial part in bridging two cultures and has enabled the advances of modern life and internationalism of around the world. In literature, foreign poetry and prose into the curriculum also increasingly covers much ground, which brings translation to more attention. However, the translation of literary works is not an easy – to – deal matter and the question of how a good translation text is measured has never ceased to challenge linguists. In fact, Translation Quality Assessment [TQA] has been addressed by many linguists so far and it remains a controversial topic with many a theory proposed. Among many linguists who have put forward models to carry out a comprehensive assessment, J. House is chosen by most researchers because of the best applicability of her model, based mainly on the theory of functional grammar by K. Halliday. The novel “The Call of the Wild” by Jack London is the author’s first literary work, which helped him rise to the prominence as the top author of American literature in the early 20th century. The researcher has taken the translation version by Nguyễn Công Ái and Vũ Tuấn Phương to measure how well the translation is. The novel also characterizes Jack London’s writing style, straightforward but formal, which is embraced in each chapter of the novel. In this minor study, Chapter 6 of the novel titled “For the love of a man” is chosen as the data for the analysis. This chapter is the only one which reveals Buck’s passionate love for his master and this love demonstrates the humanity in the whole novel. II. Objectives of the study The study aims at investigating the translation quality of the target text of Chapter 6 in full comparison with the source text, based on J. House’s model. At the end of this study, the answers to the following research questions should be provided: - What are the features of the ST, according to J. House’s model? - What are the mismatches of the TT in comparison with the ST?
• 6. of translation, covert or overt, is employed? III. Scope of the study As referred to earlier, J. House’s model is adopted to assess the quality of the translation in this research. This results from the fact that the models proposed by Peter Newmark and other linguists’ only suit professionals in translation, whilst J. House’s model can be widely applied by researchers. In terms of the data for analysis, the whole novel should have been adopted to provide the researcher with a sufficient insight into the translation quality of the Vietnamese target text. However, due to its modest scale, this study is merely confined to chapter 6 of the novel “The Call of the Wild”, which partly features Jack London’s basic writing style in the novel. With such a limit set out at the beginning of the study, all the analysis and comparison between the ST and the TT is only restricted in this chapter. IV. Method of the study The principal method employed in the study is Documentary Research, using the outside sources [the ST and TT of chapter 6 – “The Call of the Wild] to support the whole procedure of translation quality assessment. The researcher also combines both qualitative and quantitative research, analyzing data and providing the readers with deeper insights into the distinctions and value in the ST and TT. Some important conclusions can be drawn from these analyses. V. Organization of the study The first chapter of the study will be Literature Review in which some related concepts of translation theory and typical models of translation quality assessment are discussed. In the second chapter, the research will introduce an overview of the original text’s content, and J. House’s model applied to analyze the ST. In the third chapter, the researcher will apply J. House’s model to analyze and compare English ST and its Vietnamese TT to find out mismatches and draw a conclusion of what type of translation is employed in the study.
• 7. What is translation? There have been many different definitions of translation so far. From the researcher’s point of view, however, 5 following definitions should be taken into consideration: - Translation is a craft consisting in the attempt to replace a written message and/or statement in one language by the same message and/or statement in another language. [Peter Newmark, 1988] - Translation deals with the signs and attempts to preserve semiotic, as well other pragmatic and communicative, properties which signs display. [Basil Hatim and Ian Mason, 1990] - Translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language. [J.House, 1977] - Translation is to produce in the receptor language the closest natural equivalence to the message of the source language, first in meaning and second in style. [Nida, 1975] - Translation means the replacement of a text in one language [Source Language] by an equivalent in another language. [Target Language]. [Cartford, 1965] The five definitions of Peter Newmark, Basil Hatim and Ian Mason, J. House, Nida, and Cartford are expressed in different ways. However, they all share the same essence of translation which lies in the preservation of semantic, pragmatic, and textual aspects of meaning across two different languages. II. Literary translation Literary studies have always, explicitly or implicitly, presupposed a certain notion of ―literariness‖. This notion of ―literariness‖ is crucial for the theoretical thinking about literary translation. In the following part, the researcher attempts to put forward some general characteristics of literary language and typical problems of literary translation. II.1. General characteristics of literary language
• 8. use of well-chosen words to tell a story through narrative, involving characters in conflict, or to express an emotion or idea through artfully arranged images. The purpose of literature is to entertain and instruct [or to delight or enlighten] the reader through the use of imagination. Literature can shock, amaze or help readers make an escape from the reality for a while. As far as we know, literary language is a part of general linguistics. Thus, almost linguistic features used in literary texts are taken from general linguistics. However, literary language possesses some typical characteristics. Literary language possesses all the features that assist in realizing the descriptive goal of literary texts. As Peter Mark [1995: 13] states, there is ―an emphasis linking verbs, adjective, and adjectival nouns.‖ Besides, literary texts consist of the linguistic particularities relating to ―major topics as cohesion, manning patterns, modality, and evaluation, the structure of narratives, the recording of character speech and thought, clause processes and participants, and the dynamic of dialogue, presupposition and textual revision.‖ [Michael Toolan – 1998] Literary texts, especially in poetry, also carry the metrical and para- metrical features of language. This is an adaptation of the linguistic form which is called the prosodic phonological form. A linguistic form which is also used in literary language is parallelism in syntax, semantics, and lexis. With regards to narrative, one of the aspects of narrative form which exists independently of language is the macro-structure, or large-scale structure. As far as we know, it seems generally agreed upon that the structure of the stories cannot adequately be accounted for in terms of their sentence structures alone. Notions such as plot, scheme, theme, and plan have been used, both in classical literary scholarship and in structural analysis of myths, folktales and other simple stories, in order to denote more global narrative structures. In addition, literary language is closely related to cultural elements. These cultural elements marked out the patterns and threads in the narrative whereby the overall cultural gap that has to be bridged and gauged, and some consideration can also be given to the balance of items to be domesticated and foreignised. Moreover, these elements provide insights to the author and an
• 9. undercurrents in the novel. It is, thus, clear that cultural elements are central to any translation. To support this idea, Nord [1997:11] states that ―… a translation theory cannot draw on a linguistic theory alone… What it needs is a theory of culture to explain the specificity of communicative situations and the relationship between verbalized and non- verbalized situational elements.‖ II.2. Problems of literary translation In order to create a good translation, a translator has to deal with many challenges, especially regarding literary translation where a number of problems remain. Long – standing debates mainly consider finding equivalents not just for lexis, syntax, or concepts, but also for features like style, genre, figurative language, historical stylistic dimensions, polyvalence, connotations as well as denotations, cultural items and culture-specific concepts and values. Options made by translators such as whether to retain stylistic dimension of the original become critical in literary translation. As regards poetry translation, it is necessary for the translator to determine whether the verse should be translated into verse, or into free verse or into prose. In poetry, the form of linguistic units cannot be modified without a corresponding change in semantic, pragmatic, textual meaning. Since the form cannot be detached from its meaning, this meaning cannot be expressed in another ways such as paraphrases explanations and borrowing of new words is impossible in a translation of a poetic-aesthetic work of art. One of the prominent problems in translating literary texts is the differences between cultures. It is easily recognized by a translator who uses a cultural approach that each language contains elements which are derived from its culture. In addition, every text is anchored in a specific culture, and conventions of text production and reception vary from culture to culture. In fact, translation is considered as a form of intercultural communication which poses the problems not merely at verbal level or linguistic level. The awareness that one does not seek barely verbal equivalents but also for cultural equivalents, if there are any, comes in handy in prompting the translator to decide the strategies he or she has to use. Accordingly,
• 10. longer a matter of finding verbal equivalents but also interpreting a text encoded in one semiotic system with the assistance of another. The whole enterprise of finding cultural equivalents raises awareness of the difference and similarities between cultures. It also brings into focus the critical question of cultural identity. Apparently, literary translation exerts great influence on the target culture, and at the same time, the target culture has never stopped restraining the process of literary translation. It is held that ―there is always a context in which the translation takes place, always in a history from which a text emerges and into which a text is transposed‖. [Lafervere: 1990: 11]. As a matter of fact, literary translation is embedded with the constraints of a certain target cultural context. III. Translation Quality Assessment Translation Quality Assessment does not only deal with the ideal case of integral communicative performance, in which target language aims at the closest equivalence as regards the conceptual content, linguistic form and communicative function of a SL text. The practice of translation is subject to a great many conditions which determine that such an integral communicative performance cannot, or even should not, be achieved. Theodore Savory [Readings in translation theories, 1957: 49] listed ten translation principles gleaned from the literature, some of which are directly contradictory while others are mutually complementary. They provide an abundance of opinions on what a good translation should be like. III.1. Proposed models Over long history of translation quality assessment, linguists have kept on putting forward their approaches to reach the best assessment for the quality of translation. III.1.1. Nida’s response – based approach Nida’s concern centered on a systematic approach to translation. He suggested three programmatic and general criteria [1964: 182] for quality assessment of a translation, including general efficiency of the communication process, comprehension of intent and equivalence of response. The third and most significant criterion is obviously close to Nida’s basic principle of ―Dynamic [or Functional] Equivalence of a translation’. In other words, the manner the receptor of the translation text responds to the
• 11. be equivalent to the manner in which the receptors of the source text respond to the source text. Nida and Taber [1969: 173] proposed three similar criteria: the correctness with which the receptors understand the message of the original, the ease of comprehension and the involvement a person experiences as a result of the adequacy in the form of translation. However, these behavioral criteria need to be further explained and put to the practice tests. III.1.2. Koller’s text – based approach Koller [1974] acknowledges the importance of a linguistic model of translation quality assessment, which is portrayed in three straightforward stages introduced by him. The first stage is to consider the transferability of the original text. If the original text is transferable, the most equivalent translation can be created. If the original text is untransferable, no equivalence or translation is possible. The source text should be kept the same. The second stage is to retranslate the target text into the source language. A translation is acceptable if the target text is similar in meaning with the source text after re- translation. The third stage is to let the native speakers proofread the translation. The translator is expected to satisfy the readers of the target language, which means they have no difficulty interpreting the translation. In brief, in spite of his stimulating ideas, Koller does not go beyond a very general outline with no suggestion for operationalization. Criteria that the transferability of a text based have not been mentioned in his model. What’s more, the approach does not provide us with adequate details so that it can be applied to a real translation. Hence, it needs to be further developed into a workable model of TQA. III.1.3. Peter Newmark’s comprehensive criticism approach As Newmark puts it, translation critism is an essential component in a translation course. He gives three reasons to explain for this idea. Firstly, it painlessly improves your competence as a translator. Secondly, it expands your knowledge and understanding of your own and foreign language, as well as the insight of the topic. Thirdly, it will help you form your ideas about translation. As an academic discipline, translation criticism ought to be the keystone of any course in comparative literature, or literature in translation,
• 12. of any professional translation course with the appropriate text-type [e.g. legal, engineering, and so on.] as an exercise for criticism and discussion. Peter Newmark states that any comprehensive criticism should cover five topics to criticize a text: 1. A brief analysis of SL text stressing its intention and its functional aspects. 2. The translator’s interpretation of the SL text’s purpose, his translation method and the translation’s likely readership. 3. A selective but representative detailed comparison of the translation with the original 4. An evaluation of the translation: in the translation’s terms and in the critics’ terms 5. An assessment of the likely place of the translation in the target language culture or discipline. III.1.4. Julianne House’s functional – pragmatic approach Translation, as realized by Julianne House, means the preservation of ―meaning‖ across two languages, which is elaborated into three aspects, namely semantic, pragmatic, and textual. In other words, translation may be defined as the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language. House’s model for translation assessment is based on pragmatic theories of language use. It concerns semantic field, pragmatic aspect and textual aspect. In the definition of translation, the term ―equivalent‖ is the key term. The concept of ―equivalence‖ may also be taken as the fundamental criterion of translation quality. Thus, an adequate translation text is a semantically and pragmatically equivalent one. III.2. Representation of Julianne House’s TQA model III.2.1. Covert and Overt Translation House [1977] discusses about the concept of two translation types: overt and covert translation. In an overt translation, the TT audience is not directly addressed and there is, therefore, no need at all to attempt to recreate a second original text since an overt translation must overtly a translation. In overt translation, the
• 13. translator is important and visible. Since it is the translator’s task to give target culture members access to the original text and its cultural impact on source culture members. Also, the translator puts culture members in a position to observe and judge this text from outside. Thus the major difficulty in translating overtly is finding linguistic cultural equivalents particularly along the dimension of Tenor and its characterization of the author’s temporal, social and geographical provenance. Covert translation, on the other hand, means the production of a text which is functionally equivalent to the ST. In this type of translation, the translator has to attempt to recreate an equivalent speech event. Consequently, the function of a covert translation is to reproduce in the target text the function that the original has in its frame and discourse world. It is the translator’s expression task to betray the original and to hide behind the transformation of the original. Thus, the work of translator is clearly less visible, if not totally absent. In short, covert translation is less complex and more deceptive than overt translation. In evaluating a translation, it is thus essential that the fundamental differences between overt and covert translation be taken into account. These two types of translation clearly make different demands on translation criticism. III.2.2. Representation of J. House’s model House adopts Halliday’s term ideational and interpersonal as labels for the referential and the non-referential functional components. House’s model consists of two sections: dimensions of language user and dimensions of language use, possibly broken down into the following subcategories: A. Dimension of language user: 1. Geographical Origin 2. Social Class 3. Time B. Dimension of language use 1. Medium [Simple/Complex] 2. Participation [Simple/Complex] 3. Social Role Relationship
• 14. Province To elaborated, these terms can be understood as follows: Geographical Origin: regional dialect Social Class: Social class dialect Medium: may be either simple, i.e. written to be read, or complex, e.g. written to be spoken as if not written [as in a play], or simply written to be spoken [as in a draft of a speech or sermon] Participation may also simple or complex. Simple refers to a monologue or dialogue; complex refers to various ways of ―participation elicitation‖ and indirect addressee participation in a monologue manifest linguistically e.g, in the specific use of pronouns, presence of contact parentheses, etc. Social Role Relationship between addresser and addressees may be symmetrical or asymmetrical according as some kind of authority relationship differentiates them. Social Attitude describes the degrees of social distance or proximity resulting in relative formality or informality. Joos’ [1961] disctinction of five different styles or degrees of formality: frozen, formal, consultative, casual, and intimate. Province is broadly defined: it refers not only to the text producer’s occupational and professional activity but also to the field or topic of the text in its widest sense of ―area of operation‖ of the language activity, as well as details of the text production as far as these can be deduced from the text itself.
• 15. THE SOURCE TEXT, BASED ON J. HOUSE’S MODEL I. Brief introduction of the chapter I.1. The author Jack London Jack London was the most successful authors in the early 20th century, gaining widespread recognition subsequent to the publication of the novel “The call of the wild” in 1903. His vigorous stories of men and animals against the environment and survival against hardships were drawn mainly from his own experience. His straightforward style created many famous literary work such as “The call of the wild”, “White fang”, The sea wolf” and many others. I.2. The novel “The call of the wild” “The call of the wild” is the story of Buck, a domesticated dog which is snatched cruelly out of his beloved home and thrown into a hostile world of clubs and fang, where he has to learn the hard way to survive. His passionate love for John Thornton seems to draw him back into the civilization, but the imperious and luring sounding of the wild attracts him and leaves him no reluctance to join it after John Thornton is killed. I.3. Introduction of Chapter 6 Chapter 6 of the novel, titled “For the love of a man” is the only part which portraits the intimate relationship between Buck and his master, John Thornton. The chapter elaborates on Buck’s overwhelming love for Thornton and his heroic actions to save Thornton from tense and even fatal situations. II. Discourse features of the source text II.1. Syntactic features II.1.1. Clause and Clause Complexes The chapter is comprised of 227 clauses, breaking down into numerous smaller units, 52 of which are clause simplexes, whereas the remaining are complex clauses with a huge number of clauses with rather intricate relationship between clauses.
• 16. clause simplexes is relevant in this kind of narrative, where the plot of the story unfolds in a series of events. In this chapter, many clause simplexes are utilized to describe Buck’s great love for Thornton. ―[53] Thornton alone held him. [54] The rest of mankind was as nothing‖ ―[58] For Thornton, however, his love seemed to grow and grow. [59] He, alone among men, could put a pack upon Buck’s back in the summer travelling.‖ The clause simplexes convey a distinct contrast, regarding the significance of Thornton in Buck’s heart, as opposed to other people. Clause simplexes also prove particularly effective in describing events which are intended to evoke the nervousness and excitement in readers. 35 clause simplexes are employed in the last challenge and victory where Buck scores to rescue Thornton. It is the intense competition between Thornton and Mathewson, who bets that Buck cannot move a thousand pounds and walk with it for a hundred yards. The curiosity of the crowd watch the competition is conveyed in short simple sentences. ―The crowd was watching curiously. The affair was growing mysterious. It seemed like a conjuration.‖ More importantly, Buck’s attempt is recorded. “Buck duplicated the maneuver, this time to the left….” “The sled was broken out.” “The sled swayed and trembled, half – started forward.” Each of Buck’s movements seems to be portrayed in details via the use of short sentences, which cause worry and excitement in readers during the course of the competition. The ending passage was filled with short simple complexes, which convey Buck and Thornton’s touching moments after Buck has helped Thornton win the competition. “Thornton rose to his feet. His eyes were wet. The tears were streaming frankly down his cheek.” These three clause simplexes demonstrate Thornton’s happiness and thankfulness to Buck since he understand Buck’s extraordinary attempt is for him.
• 17. only account for over 25% of the total clauses of the chapter, the clause complexes, as usual, constitute the majority in the chapter. Various relationships are employed, namely elaboration, extension and enhancement, which are often typical of two kinds of clauses: Parataxis and hypotaxis. a. Elaboration Elaboration is conveyed in an effective way via the use of relative clauses, which are often used to modify and elaborate the nouns before them. So useful was it that more than one time in the chapter that the readers see the relative clauses to describe Buck’s love for Thornton. “[16] But love, that was feverish and burning, that was adoration, that was madness, it had taken John Thornton to arouse.” The relationship between above-mentioned clauses is elaboration, coupled with extension, in the way that three relative clauses are posited the same in significance. Buck’s love for Thornton is elaborated in a straightforward way, and also is multiplied via the addition of stronger and stronger feeling embedded in the three clauses. The readers can see a number of relative clauses in an attempt to describe the love and intimacy between Thornton and Buck. “[17] This man had saved his life, which was something; but further, he was the ideal master.” [21] He had a way of taking Buck’s head roughly between his hands, and resting his own head upon Buck’s, of shaking him back and forth, the while calling him ill names, that to Buck were love names. Apparently, in these clauses, the relationship is not only elaboration, but also extension which proves useful in extending the level of intimacy between Buck and Thornton to a higher position. b. Extension and enhancement Non – finite clauses seem to appear much in the chapter to describe a series of actions or the record a story. This is the time when Buck rest totally to win back his strength after he is saved by Thornton.
• 18. lying by the river bank through the long spring days, watching the running water, listening lazily to the songs of birds and the hum of nature, Buck slowly won back his strength.” The use of non – finite verbs describes Buck’s loafing time with Thornton and his two dogs, which is absolutely his dream after being exhausted for a long time. “[29] He would lie by the hour, eager, alert, at Thornton's feet, looking up into his face, dwelling upon it, studying it, following with keenest interest each fleeting expression, every movement or change of feature.” Many non – finite verbs are employed in this clause, such as looking, dwelling, studying, following, following the main verb lie. Embedded by the extension relationship between clauses, it reveals the Buck’s thorough and sharp observation of every moment and feeling of Thornton, which proves his passionate love for his master. In the passage where Buck saved Thornton from drowning, the author also uses plenty of clause complexes with extension as a major relationship. “[90] When he felt him grasp his tail, Buck headed for the bank, swimming with all his splendid strength” “[116] Strangling, suffocating, sometimes one uppermost and sometimes the other, dragging over the jagged bottom, smashing against rock and snags, they veered in to the bank.” A series of non – finite verbs such as strangling, suffocating, dragging, smashing come before the main verb veered really impress readers about Buck’s sacrifice and courage to save Thornton. Apart from relative clauses and non-finite clauses, many types of clauses are also used in the chapter to create the diversity in the way story is described, typically independent clauses with extension and enhancement relationship embedded. ―[218] Head was against head, and he was shaking him back and forth. [219] Those who hurried up heard him cursing Buck, and he cursed him long and feverently, and softly and lovingly.”
• 19. these clauses is also extension, which means clauses support each other in a way that the meaning is conveyed in the increasing level. The level of intimacy of Thornton and Buck is increasing within clauses. II.1.2. Transitivity The majority of clauses in the chapter 6 is covered with material process, which is relevant to a narrative story like the novel. By means of material verbs, the chapter is aimed at describing the heroic and touching actions performed by Buck in many times to rescue Thornton from dangerous situation. The typical one is when John Thornton fell off the boat and Buck virtually sacrifices his life to save his master. A variety of verbs are used in order to portrait Buck’s actions: “[89] ||| Buck had sprung in on the instant; || and at the end of three hundred yards, amid a mad swirl of water, he over-hauled Thornton.” “[113] ||| Buck held on || till he was on a line straight above Thornton; || then he turned, and || with the speed of an express train headed down upon him.” The material verbs also denote the intimate moment between Buck and Thornton: “[223] The tears were streaming frankly down his cheeks… [225] Buck seize Thornton’s hand in his teeth. [226] Thornton shook him back and forth.” Not appearing as often as material process, relational process and behavioral process also greatly contribute to the elaboration of love between Buck and Thornton. Whereas the relational process describes the inside feeling and burning love for Thornton, the behavioral process demonstrate those feelings out. More than one time does Buck’s adoration for Thornton is showed: [17] ||| This man had saved his life, which was something; || but, further, he was the ideal master. In some cases, the love is elaborated through increasingly waves of feelings inside Buck:
• 20. was feverish and burning, that was adoration, that was madness, it had taken John Thornton to arouse.” Furthermore, by means of behavioral process, the passionate love for Thornton is also conveyed clearly through Buck’s behaviors: [29] ||| He would lie by the hour, eager, alert, at Thornton's feet, || looking up into his face, || dwelling upon it, || studying it, || following with keenest interest each fleeting expression, every movement or change of feature. [30] ||| Or, as chance might have it, he would lie farther away, to the side or rear, || watching the outlines of the man and the occasional movements of his body.” Despite its infrequent appearance in the chapter, verbal process mainly deals with the intimacy Thornton gives Buck in another way. Sometimes, Thornton “exclaim” because of his understanding of Buck’s love for him whereas in some other times, “whispered” and ―murmured” with love words to Buck. During the chapter, verbal verbs do not appear much, but it also plays an important role in portraying Thornton’s love for Buck. Mental and existential processes only account for a minor part in the chapter. In consideration of the main aim of the chapter, which deals with the love between Buck and his master, the small percentage of these two processes is understandable. II.1.3. Mood In terms of mood choice, 99% of clauses in the chapter are declarative, which is relevant in this kind of narrative. There are only two clauses of interrogative in the form of a Wh-question and a Yes/No question, and two clauses of imperative when Thornton ordered Buck to return ashore: “Go! Buck! Go”. Lying in the Mood structure, finite also plays an important part. In this novel, especially in chapter 6, past tense is used to narrate the story of Buck, particularly its heroic exploits towards Thornton. A mixture of tenses is used, of which perfect tenses are used such as past perfect and present perfect tense.
• 21. readers to comprehend the strictness in the author’s language in order to describe the story plot in the chapter. As the mood structure is investigated more closely, the relationship and order of Subject, finite and Residue should be taken into consideration. The majority of clauses in chapter 6 have Subject as simple noun phrases or nouns; however, in some clauses, the Subject is represented by a clause. “[19] … and to sit down for a long talk with them--|| "gas" he called it-- || was as much his delight as theirs. [34] ||| His transient masters || since he had come into the Northland had bred in him a fear that || no master could be permanent. [48] ||| Kill or || be killed, || eat or || be eaten, was the law.” Using the clause as the Subject of a clause is one of the features of formality in texts. Another feature of formality is inversion, which appears much in this chapter. The part of clause which is inversed prior to Subject may be the Complement or Adjunct. ―This‖ is put at the beginning of the clause to emphasize Buck’s passionate love for Thornton, which he had never experienced in Judge Miller’s house. “[14] ||| This he had never experienced at Judge Miller's down in the sun-kissed Santa Clara Valley”. Or Adjunct + Operator structure “So peremptorily did” is put before Subject to describe the luring attraction of the sounding of the wild life to Buck: “[51] ||| So peremptorily did these shades beckon him, || that each day mankind and the claims of mankind slipped farther from him.” In the chapter, it is also obvious that ellipsis is also used. The Subject [Buck] is omitted the beginning clauses because of its reference in the last clause. “[3] ||| And here, lying by the river bank through the long spring days, || watching the running water, || listening lazily to the songs of birds and the hum of nature, || Buck slowly won back his strength. In other cases, the Subject + Operator + Predicator structure [it had been] is left out without the obscurity of the meaning in the clause:
• 22. the Judge's sons, hunting and tramping, it had been a working partnership; || with the Judge's grandsons, a sort of pompous guardianship; || and with the Judge himself, a stately and dignified friendship. Or the Predicator is omitted only: [23] ||| And when, released, he sprang to his feet, || his mouth laughing, || his eyes eloquent, || his throat vibrant with unuttered sound, || and in that fashion remained without movement, || John Thornton would reverently exclaim, || "God! you can all but speak!" Although the ellipsis is the signal of informal texts, the formality in the chapter is still retained because the clauses with ellipsis embedded is in narrative style and no effort is made to understand the meaning of the clause based on the preceding or subsequent clauses. Modality is also a part of mood structure, which is of significance to create the illocutionary force in the chapter. “[4] …It must be confessed that || Buck waxed lazy as || his wounds healed, || his muscles swelled out, || and the flesh came back to cover his bones . [23] … "God! You can all but speak!" [46] ||| He must master or || be mastered; || while to show mercy was a weakness.” In this chapter, modality does not play an important role since the chapter is in narrative style and the purpose of the author is to portrait the fact and give the chapter much experiential meaning other than interpersonal meaning. As regards voice, it is found without difficulty that the passive voice is favored in the chapter, among the clauses with active voice to describe the plot of the story. The regular use of passive voice bespeaks the formality in the chapter: [98] He swam powerfully and was dragged ashore by Pete and Hans………..
• 23. was jerked under the surface, and under the surface he remained till his body struck against the bank and he was hauled out. [105] He was half drowned,… II.2. Textual features II.2.1. Thematization The chapter is made up of various kinds of themes. Regarding simple and multiple theme, 70 percent of clauses is unmarked simple theme, while nearly 30% is marked multiple theme, which is often composed of textual and topical theme. The topical theme is characterized by Adjunct phrases: [3] And here, lying by the river bank through the long spring days, watching the running water, listening lazily to the songs of birds and the hum of nature, Buck slowly won back his strength. [10] To Buck's surprise, these dogs manifested no jealousy toward him. [15] With the Judge's sons, hunting and tramping, it had been a working partnership; with the Judge's grandsons, a sort of pompous guardianship; and with the Judge himself, a stately and dignified friendship. In some other cases, the topical theme is Complement, which conflates with the inversion pattern discussed above: [14] This he had never experienced at Judge Miller's down in the sun- kissed Santa Clara Valley. [16] But love that was feverish and burning, that was adoration, that was madness, it had taken John Thornton to arouse. II.2.2. Cohesion Cohesion is one of the prominent features to create the coherence in a discourse and Jack London has made full use of the cohesive devices to maintain the formality for the novel in general and the chapter 6 in particular. The utilization of cohesive devices is specified as follows: a. Reference
• 24. of the most efficient tools of cohesion in any discourse. This chapter is no exception. The chapter employs personals, demonstratives, and comparatives as the prominent devices of reference when creating the connection between clauses. As usual, reference is most denoted by personal devices. One outstanding feature of the personal devices is that the animals in the chapter such as Buck, Skeet and Nick are personalized through the use of pronouns referring to human like him, her: [26] For the most part, however, Buck's love was expressed in adoration. [27] While he went wild with happiness when Thornton touched him or spoke to him, he did not seek these tokens. [10] To Buck's surprise these dogs manifested no jealousy toward him. [11] They seemed to share the kindliness and largeness of John Thornton. Less frequently but also effective, comparatives such as comparative words, such, other and next are also used in some clauses: [9] Nig, equally friendly though less demonstrative, was a huge black dog, half-bloodhound and half-deerhound, with eyes || that laughed and a boundless good nature. The demonstratives like this also bear the same occurrence as comparatives: [48] Kill or be killed, eat or be eaten, was the law; and this mandate, down out of the depths of time, he obeyed. b. Ellipsis and Substitution The ellipsis employed in the chapter nearly limit itself in clauses, which eliminate the subject of the subsequent or prior clauses and there exists only one subject in the last or first clause. This is not the case where ellipsis in conversation is dealt with, which would signal the informal and spoken language. This elimination of subject in multiple clauses in a sentence is highly visible in formal writing. Substitution, otherwise, should be considered as the common way of creating the cohesion in the discourse. In this chapter, such words as this, so replace the whole clauses or part of clauses before:
• 25. had never experienced at Judge Miller's down in the sun- kissed Santa Clara Valley. [132] So saying, he slammed a sack of gold dust of the size of a bologna sausage down upon the bar. c. Conjunction The wide variety of conjunctions used is one important feature in the formal writing. Most of conjunctions in chapter 6 convey the meaning of extension among clauses, which can be broken down into addition, adversative and variation. The relationship between clauses is characterized by addition with the employment of “and”, ―besides”, “further”: [23] And when, released, he sprang to his feet, his mouth laughing, his eyes eloquent, his throat vibrant with unuttered sound, ……… [43] Skeet and Nig were too good-natured for quarreling -- besides, they belonged to John Thornton [141] Further, he had no thousand dollars; nor had Hans and Pete. Lying in the second after addition is the adversative, denoting the opposite meaning among clauses with the use of “but”, “however”, and “yet”: [26] For the most part, however, Buck's love was expressed in adoration. [38] But in spite of this great love he bore John Thornton, which seemed to bespeak the soft civilizing influence, the strain of the primitive, which the Northland had aroused in him, remained alive and active. [39] Faithfulness and devotion, things born of fire and roof, were his; yet he retained his wildness and wiliness. Since the chapter aims at telling a story, spatio – temporal conjunctions appear much in the chapter, especially time conjunctions: [56] When Thornton's partners, Hans and Pete, arrived on the long- expected raft, Buck refused to notice them till he learned they were close to Thornton; after that he tolerated them …..
• 26. on till he was on a line straight above Thornton; then he turned, and with the speed of an express train headed down upon him. d. Lexical cohesion Connecting clauses by using lexical cohesion involves the employment of many means of lexical wording such as repetition, synonyms, collocation. Considered as the most common way of lexical cohesion, the repetition of words is used much in the chapter: [46] He must master or be mastered; while to show mercy was a weakness. [47] Mercy did not exist in the primordial life. Regarding semantic meaning among words across clauses, meronymy is favored. The author uses many words such as the muscles, fur, great chest, head, feet, and claws in order to describe the beauty of Buck denoted in the phrase ―his whole body”: [205] His whole body was gathered compactly together in the tremendous effort, the muscles writhing and knotting like live things under the silky fur. [206] His great chest was low to the ground, his head forward and down, while his feet were flying like mad, the claws scarring the hard- packed snow in parallel grooves. Besides synonyms, the collocations refer to sets of words which are supposed to posit together in order to create the link across clauses. The relationship between “his eyes”, “his cheeks” and ―the tears” examples of collocations: [221] Thornton rose to his feet. [222] His eyes were wet. [223] The tears were streaming frankly down his cheeks. In brief, the chapter uses an abundance of cohesive devices to demonstrate the connection among clauses. This reflects the formality of the chapter, which is often created by the close connection among clauses in the discourse. III. Analysis of the original text based on J. House’s model III.1. Dimension of language user Geographical Origin: Non – marked, standard American English Social class: non – marked, educated middle class.
• 27. was published in 1903. III.2. Dimension of language use III.2.1. Medium The source text is ―written to be read‖; hence, the medium is simple. However, the readership covered should be in middle-class due to its following elaborate features:  Syntactic means i. Virtual absence of anacolutha, contact parentheses and comment parentheses typical of spoken modes. ii. Strict use of tense mixture, especially perfect tenses such as present perfect and past perfect, which are supposed to signify the written language. iii. Virtual absence of incomplete sentence. Only one clause is incomplete in the form of an exclamation “Half a ton!” The others includes short commands by John Thornton in Buck’s last heroic exploit such as ―Now, Buck”, “Gee”, “Haw”, “Now, MUSH”. These words do not come up much in the chapter. iv. Absence of parenthetical and appositional structures. v. Frequent presence of inversion, which is commonly seen in formal writing. vi. Frequent present of passive voice throughout the chapter.  Lexical means i. Virtual absence of interjections as one of spoken language features. Hardly can these be found in the chapter, only in two cases, namely Han’s exclamation “Py Jingo!”[Wow!] , “Well” by Mathewson, and “Gad, Sir! Gad! Sir!” by Skookum Bench King. ii. Presence of “must” instead of “have to”. Apparently, “must” is used preferably in writing whereas “have to” is seen more commonly in speech. iii. Frequent use of conjunction ―and‖ and ―but‖ introducing both coordinated and subordinate clauses. iv. Absence of slang words. The readers are under the impression that the lexical items in the chapter undergo careful selection, which is shown
• 28. of formal or literary words, listed in the Appendix Lexical Formality. v. High lexical density, which measures the ratio of content words to grammatical words. In the chapter, most clauses are closely and densely packed, using precise but intricate lexicon to convey meaning.  Textual means i. Absence of redundancy in the chapter. ii. Logical and highly – planned clause structure. The full use of a number of clauses, which bear various relationships, namely elaboration, extension and enhancement. iii. A wide variety of theme structures, namely simple/multiple theme, unmarked and marked theme, which couple with each other in the source text. In particular, the frequent use of multiple unmarked themes proves the complexity and intricateness of clause structure in the text. III.2.2. Participation Because of its typical feature as a narrative and its author’s role as a storyteller, the participation elicited in the chapter is mostly indirect and the involvement of the characters in the chapter is portrayed through the voice of author.  Syntactic means i. Predominant use of monologues and scare appearance of dialogues, which prove the text’s simplicity in addresser and address’s participation. ii. Overwhelming dominance of declarative clause over imperative and interrogative, owing to the narrative feature of the text.  Lexical means There is an abundant use of third person pronouns such as she, he, they whilst the first and second person pronouns only appear in interrogative and imperative clauses, which, as mentioned above, is proved to be little in the chapter. III.2.3. Social Role Relationship
• 29. stories, there exist two kinds of role relationship in the source text: The writer and readers, and situational relation among characters in the chapter, which will not be discussed much because of few conversation and therefore scare interaction between characters in the chapter. The relationship which is more worth investigating is between the writer and reader, implicitly demonstrated in the source text.  Syntactic means i. Limited use of modality signals in the chapter. Only some clauses with the employment of “must”, “could” and “should” denote the writer’s intervention in the flow of the text. For instance, the clause “It must be confessed that…” in the sentence [4] demonstrates an illocutionary force imposed by the writer, denoting his personal comment. ii. Little presence of conversations and hence, not much implication of relationship among interlocutors in the chapter. The chapter predominantly deals with the narrative flow, in the voice of the author himself. iii. Little presence of interrogative and imperative, indicating little transitional role of the interlocutors in the chapter. There is not much interaction among characters in the chapter whereas the voice and tone of the writer occupies most of the space in the chapter.  Lexical means i. Presence of reference. For example, proper names such as Buck, Thornton, Skeet, Nig, etc. are replaced by personal pronouns, typically he, she, they. ii. Little presence of first and second pronouns [I, you] in conversations, which has been proved scare in the chapter. III.2.4. Social attitude The chapter is the mixture of various formality levels, ranging from consultative to frozen.  Syntactic means i. Absence of elliptical clauses, anacolutha and contractions. ii. Strict use of tenses, especially perfect tenses, namely present and past perfect tenses [cf. Medium above] iii. Frequent use of passive voice. [cf. Medium above]
• 30. incomplete sentences. [cf. Medium above] v. Frequent use of phrasal verbs and idioms. Some examples for phrasal verbs and idioms in the chapter are: Phrasal verbs: It was misunderstood for fear, and such misunderstandings made for death. Idioms: Or, as chance might have it, he would lie farther away… They were of the same large type as John Thornton, living close to the earth, thinking simply…… vi. Ample use of inversion throughout the chapter to emphasize some certain idea. vii. Ample use of figurative language, notably simile, such as ―hard as iron”, “like an electric shock”, “like a battering ram”, “like the teeth of an enormous comb”, “as a mother cat washes her kittens”, “like a pistol shot”. It must be confessed, however, that these similes are quite familiar with a wide variety of readership. viii. Occasional presence of impersonal structure, beginning with ―it”, marking the formality in English language.  Lexical means i. Absence of subjectivity qualifying modal adverbials, interjections, and other emotive markers [cf. Medium above] ii. Frequent use of formal or literary lexicon instead of everyday words, as referred to in Lexical Formality in Appendix.  Textual means i. Comprehensive representation of a well-structured, elaborate, logically sequenced and strongly cohesive text, signified by the various means of cohesion such as reference, substitution, conjunction and lexical cohesion. III.2.5. Province This chapter is excerpted from the whole novel ―The call of the wild‖ written by Jack London. As a part of this literary masterpiece, the text aims at portraying the passionate love between Buck and Thornton by demonstrating not only his feeling but also various actions to save John Thornton from dangerous or difficult situation. As a narrative, the chapter is characterized by the descriptive language to create images in the readers’ mind and enhance the story. As a result, various linguistic means are used in the chapter:
• 31. Use of past tenses in most of the chapter. ii. Frequent use of simile as a prominent figure of speech in the chapter. iii. Frequent presence of inversion in the chapter in order to elicit the impression of readers towards the story plot.  Lexical means i. The predominance of the third person pronouns such as he, she, they, proving that the author himself is the storyteller. ii. Frequency of action verbs and nouns, predominantly conveying the intimate interaction between Buck and Thornton. - Action: shake, seize, pet, sweep, churn, grapple, drag, strike, clutch overhaul, scrape, clutch, crack, etc. - Body movement: spring, embrace, close, shove, nudge, stalk, stand, lie, creep, rise up, prowl, swing, writhe, knot, jerk, etc. - Sound: bark, yelp, roar, whine, bubble, growl, etc. iii. Judicious use of adjectives and adverbs. - Adjectives: + Appearance: broad – breasted, white – fanged, long – furred, shaggy [neck], half – bristled [mane], heavy [legs], hard as iron [muscles], silky [fur] + Personality: friendly, demonstrative, urgent, prompting, evil – tempered, malicious, etc. + Feelings and attitudes: feverish and burning [love], eager, alert, worried, anxious [Buck] + Body: eloquent [eyes], vibrant [throat] + Sound: crisp [crackling] - Adverbs: [close] fiercely, [growled] furiously, [struggling] desperately, [swam] powerfully, intensely [unconscious], [curse] long and fervently, and softly and lovingly iv. Frequent use of active nouns, which perform actions. For example: [2] ….. even the slight limp left him. [63] A thoughtless whim seized Thornton, …… [135] He could feel a flush of warm blood creeping up his face.
• 32. emptied its occupants into the street to see the test. [223] The tears were streaming frankly down his cheeks.  Textual means i. Frequency of spatio – temporal cohesive devices such as then, after that, now that, and conjunction to refer to the series of an event such as and, but, etc. ii. A wide variety of theme system, such as multiple and simple theme, marked and unmarked theme, resulting in the various ways of sentence beginning. III. Statement of function The function of the source text, in Halliday [1973]’s terms, falls into two categories, namely “ideational” and “interpersonal”. The source text presents the portrayal of Buck’s love for his master and his heroic actions to save John Thornton. In the dimension of Medium, a simple, written – to – be – read language supports the ideational component by providing the readers a condensed information flow, typified by the overwhelming employment of declaratives over interrogatives and imperatives. In the dimension of Participation, predominantly monologous, non- participatory character of the text, which allows for a fully-premeditated , non- alternating, and well-organized flow of information, supports the ideational component as well. On the dimension of Social Role Relationship, little interpersonal impact is created due to its characteristic as a literary work whose aim is to entertain the readers. However, the illocutionary force which is embedded in the some conversations in the chapter also demonstrates the relationship among characters. On the Social Attitude dimension, the deliberate writing style ranging from consultative to frozen supports the interpersonal functional component, since it widens the proximity between the addresser and addressees [readers]. Regarding the dimension of Province, as a literary work, the source text impresses the readers by the employment of various imagery lexical wordings, figurative language, and numerous cohesive devices. This dimension not only carries the interpersonal function, but also fully foregrounds the ideational function.
• 33. THE SOURCE TEXT AND ITS VIETNAMESE TRANSLATION I. Comparison between the source text and the target text based on J. House’s model In full comparison with the ST, mismatches are found in the TT in terms of all five dimensions of language use. I.1. Medium The TT adds some comment and contact parentheses as a result of the author’s attempt to explain or provide additional information for the readers’ better understanding. ST TT [178] "You must stand off from him," Matthewson protested. "Free play and plenty of room." “Ông đứng xa ra nhé! – Matthiuxơn phản đối – Cuộc thi tự lực, không ai nhúng vào, thiếu gì nơi đứng. [69] "Not mineself either." “Cả tôi nữa, tôi cũng chả dám. [80] A “miner meeting” called on the spot, decided that the dog had sufficient provocation, and Buck was discharged. Một “cuộc hội ý của những người khai mỏ” được triệu tập ngay tại chỗ, đã phản xử rằng cuộc tấn công của con chó có lý do chính đáng, vì bị khiêu khích tới mức phải phản ứng, và Bấc được tha miễn. [161]….and now that he looked at the sled itself, the concrete fact, with the regular team of ten dogs… …và bây giờ đây lúc anh tận mắt nhìn vào chính chiếc xe trượt ấy, cái sự vật cụ thể rành rành, với 1 đàn chó kéo xe 10 con [số lượng theo thường lệ]… This addition of information on the one hand, assists the readers’ comprehension as the story progresses; on the other hand, it proves that the TT nears the spoken style rather than written style in the ST.
• 34. exclamation in the TT also differentiates the ST and TT: [4] A rest comes very good after one has traveled three thousand miles… Thật không còn gì bằng được nghỉ ngơi sau cuộc hành trình những 3000 dặm … In addition, in terms of textual structure, many changes, most notably adding some clauses, also characterize TT whereas ST is much more precise. ST TT [68] "I'm not hankering to be the man that lays hands on you while he's around" Vô phúc cho kẻ nào dám chạm vào anh trong khi nó quanh quẩn bên anh. Tôi thì chả dám. [53] Thornton alone held him. Chỉ vì mỗi một mình Thornton mà nó còn ở lại. [55]… and from a too demonstrative man he would get up and walk away. …và khi gặp phải một người quá vồ vập quấn quýt thì nó thường đứng dậy và bỏ đi. In general, the addition of clauses or information enables the target readers to gasp the message more accurately; otherwise, the formality which is typical of a written work is not completely retained in TT. The target readers, hence, is less selective than ST and the readership seems to be expand further in TT than in ST. I.2. Participation As the author of a narrative literary work, Jack London plays a mere role as a storyteller and keeps all the characters in third person pronouns such as he, she, they. In TT, these pronouns are retained well, though some connotations are added. For example, Skeet is favorably referred to as “cô ả” or “cô nàng” due to this character’s femaleness whilst Buck or Nig are mentioned with a more neutral pronoun “nó”. Some other characters also seem to bear certain characteristics with the use of pronouns such as “tên
• 35. ―Black‖ Burton or “gã” for Matthewson. It is obvious that the storyteller does prove his disliking for these characters. Apart from the usage of pronouns, participation in the TT is also revealed through his demonstration of feeling or attitude whereas this is rarely shown in the ST. The adding of lexicon denoting feelings or attitudes in some sentences shows the attitude of the storyteller: ST TT [56]…after that he tolerated them in a passive sort of way, accepting favors from them as though he favored them by accepting. … khi đó nó mới chịu khoan thứ với họ theo một kiểu thụ động chấp nhận những sự chiếu cố của họ như thể chính vì nó chiếu cố họ và chấp nhận đấy thôi. [19] And he saw further. Và anh còn chăm sóc nhiều hơn nữa kia. [50] He sat by John Thornton's fire, a broad-breasted dog, white- fanged and long-furred… Nó ngồi cạnh bếp lửa của John Thornton, nó đấy, con chó ức nở rộng, nanh trắng và lông mao dài rậm… Apparently, such words or phrases as “đấy thôi”, “nữa kia” and the comment parenthesis “nó đấy” reduce the neutrality performed in the ST and adds some feelings or attitudes of the storyteller to the TT. In these examples, a respect for John Thornton, an admiration for Buck’s magnificent appearance and cold attitude towards chance travelers are made up in the TT. As mentioned, the intervention of the storyteller in the TT also makes a considerable contribution to the loss of neutrality created in the ST. Only in one case do we meet a rhetorical question, which is inserted into the TT, which proves the participation of the author into the flow of the story: [144] He did not know what to say. Anh biết nói thế nào bây giờ? Obviously, the implicitness to the addressees embedded in the ST is lessened in the TT. Therefore, the level of intimacy between the addresser and addressees in the TT is higher than in the ST.
• 36. Relationship Due to the remarkably limited conversation in both ST and TT, few traces of relationship among characters are shown. However, some signals of the relationship in the last part of the chapter are worth investigating: ST TT [142] "I've got a sled standing outside now, with twenty fifty- pound sacks of flour on it," …., "so don't let that hinder you." “Tôi có một chiếc xe trượt tuyết đang nằm ngoài kia, chở đúng 20 bao bột mì, mỗi bao 50 pao, …, Xin mời cứ tự nhiên cho. [176] "Gad, sir! Gad, sir!” stuttered a member of the latest dynasty, a king of the Skookum Benches. "I offer you eight hundred for him, sir, before the test…." “Tuyệt quá, thưa ngài!Tuyệt quá! – bên tai Thornton lập cập tiếng nói lắp của một gã cóc vàng thuộc nhóm phú ông mới phất lên gần đây nhất [nhóm Scuum Benso] – Ngài để lại cho tôi con chó, tôi xin nộp ngài 800, ngay trước khi vào cuộc thử thách… [178] "You must stand off from him," Matthewson protested. “Ông đứng xa ra nhé! Matthewson phản đối. In consideration of the social status of the characters in those examples, the TT lacks some of illocutionary force deliberately brought about in the ST. One side is a group of rich and arrogant men, typified by Matthewson and another side is John Thornton, an ordinary man, who is needy and therefore possesses no power. Consequently, the illocutionary force created in the TT is proved to be much milder and inappropriate compared to that in the ST. In the first example, the imperative “So don’t let that hinder you” is apparently a saying of a provocation whereas the translation “Xin mời cứ tự nhiên cho” is an invitation. Second example also bears little equivalence between the declarative “I offer you …” and “Tôi xin nộp ngài …”. In the third example, the strong demand by Matthewson which is provoked by the use of “must” is diminished by the TT translation “Ông đứng xa ra nhé”.
• 37. TT fails to demonstrate correctly the social status and relationship among characters in the chapter, which is predominantly portrayed through the use of mood and modality system. I.4. Social attitude The social attitude deals mainly with the text writer’s attitude towards the readers, demonstrated by means of linguistic formality or informality. Due to the significant differences between English and Vietnamese, the TT somehow cannot bear the complete formality which the ST carries. The use of active voice instead of passive voice in some cases in the chapter is one of the signals of informality. While numerous clauses in the ST is in passive voice, in the TT, the active voice is used otherwise: ST TT [201] The sled was broken out. Chiếc xe đã bung ra được khỏi băng giá. [81] But his reputation was made,… Ấy thế là Bấc bắt đầu nổi tiếng… The second example starting with “ấy thế là” also presents another feature of informality which is embedded in the TT as opposed to TT. Many clauses in the chapter either start or end with phrases characterizing spoken language, such as: ST TT [5] For that matter, they were all loafing… Nói cho đúng ra, tất cả đều ngồi dưng chả làm gì … [18] … he saw to the welfare of his as if they were his own children, …. [19] And he saw further. …còn John Thornton thì chăm sóc chó của mình như thể chúng là con cái của anh vậy.Và anh còn chăm sóc nhiều hơn nữa kia. [56] … accepting favors from them as though he favored them by accepting. … chấp nhận những sự chiếu cố của họ như thể chính vì nó chiếu cố họ và chấp nhận đấy thôi.
• 38. the unnecessary phrases or words such as “đấy thôi”, “nữa kia” and the use of redundancy [“ngồi dưng” and “chả làm gì” carry virtually the same meaning] work together to make the TT less formal and narrow the proximity between the TT and the readers. Another perceptible feature of formality concerns the textual structure of TT compared with ST. ST is characterized by densely-packed and highly cohesive clauses. In the TT, in many cases, one sentence with many clauses is deliberately broken down into many different sentences: ST TT [7] She had the doctor trait which some dogs possess; and as a mother cat washes her kittens, so she washed and cleansed Buck's wounds. Cô nàng Skit có cái nét đặc sắc của thầy thuốc mà người ta thường thấy ở một số con chó. Giống như một con mèo mẹ liếm lông cho con, cô nàng đã liếm và làm sạch những vết thương của Bấc. Relative clauses, in particular, are dealt in different ways in the TT. In most cases, they can be maintained within the clauses as in ST, but retain the connection with the main clause by connecting words like “mà” or without any connectors. In some other cases, the relative clauses are broken down into other independent sentences or otherwise, are transferred under the form of a comment parenthesis: ST TT [28] Unlike Skeet, who was wont to shove her nose under Thornton's hand and nudge and nudge till petted, or Nig, who would stalk up and rest his great head on Thornton's knee, Buck was content to adore at a distance. Bấc khác với Xkit và cũng khác với Ních. Xkit có thói quen thọc cái mũi của nó vào dưới bàn tay của Thornton rồi hích, hích mãi cho tới khi được vỗ về. Ních thì hiên ngang bước tới rồi tựa cái đầu to lớn của nó lên đầu gối Thornton. Còn Bấc thì bằng lòng với việc đứng cách 1 quãng mà tôn thờ anh. [38] But in spite of this great Nhưng mặc dù Bấc mang mối tình cảm
• 39. John Thornton, which seemed to bespeak the soft civilizing influence, the strain of the primitive, which the Northland had aroused in him, remained alive and active. sâu nặng như vậy với John Thornton – mà điều này hình như chứng tỏ ảnh hưởng hiền hòa của sự văn minh hóa – nhưng huyết thống của nguyên thủy mà vùng đất phương Bắc đã khơi dậy bên trong nó, vẫn tồn tại và sống động. Besides the transference of relative clause, the formality is also lessened in the TT due to the switch of noun phrases in the ST into clauses in the TT. ST TT [34] His transient masters since he had come into the Northland… Việc thay thầy đổi chủ xoành xoạch kể từ khi nó vào vùng đất phương Bắc… [97] … throwing his head high, as though for a last look… … cất cao đầu như để nhìn anh lần cuối… [118] His first glance was for Buck,… Anh lập tức nhìn sang phía Bấc,… So often are noun phrases in the ST switched into verb phrases in the TT, which clearly identifies the TT as much more informal because the employment of noun phrases in English means high formality in every discourse. In short, formality level denotes the proximity between the text creator and its reader. Therefore, the TT in this case seems to be closer to the readers than the ST as a result of its dramatic loss of formality in the ST. I.5. Province As the brainchild of Jack London, the novel, with chapter 6 included, demonstrates a judicious selection of wordings, especially lexical items which arouse lively images in readers’ mind. The TT creators, hence, face many difficulties in translating these items into Vietnamese without losing its connotations. Due to the distinct differences between two languages, the Tải bản FULL [81 trang]: //bit.ly/3JkkgHL Dự phòng: fb.com/TaiHo123doc.net
• 40. TT in comparison with the ST are easily shown, regarding both Lexical means and Textual means. One of the significant mismatches between the ST and the TT is the deliberate addition of words, or phrases in lieu of a word in ST. The ST is especially filled with single action verbs, which often result in the combination of many verbs together in the TT. The purpose of the translator is obviously to enable the TT readers fully understand the exact meaning of the words used in the ST. ST TT [23]… he sprang to his feet… [65] … Hans and Pete were dragging them back… … nó bật dậy đứng thẳng lên… Hendơ và Piti đang gò người kéo cả anh và Bấc trở lui …… [71] … Thornton stepped good natured between… Thornton bước vào giữa hai người, ôn tồn can ngăn… [79]… Buck prowled up and down… Bấc cứ quanh quẩn, lượn tới lượn lui, gầm rít hung tợn… [94] He scraped furiously over a rock… Anh vật lộn quyết liệt để bám vào một tảng đá, nhưng trượt… [95]… above the roar of the churning water shouted: … … thét to đè át tiếng gầm của luồng nước cuộn tung tóe… [133] Nobody spoke. Không ai hé răng nói nửa lời. In some cases, the verbs are also inserted into the phrases in the TT whereas ST carries no verbs at all: ST TT [62]… Buck at his shoulder. … Bấc tựa vào vai anh. [72] … head on paw… … đầu đặt trên hai chân… Tải bản FULL [81 trang]: //bit.ly/3JkkgHL Dự phòng: fb.com/TaiHo123doc.net
• 41. on top of him. … Bấc đè lên người hắn. [195]… Thornton’s voice rang out, sharp in the tense silence. … Tiếng Thornton vang lên sắc nhọn, xói vào bầu không khí im lặng căng thẳng. The TT also gives preference to reduplicated adjectives or verbs to modify the verbs, sometimes by adding the adjectives after or before verbs or nouns with the aim of creating imagery effects in the readers: ST TT [152]… banked around … … xúm đông xúm đỏ … [183] … murmur soft love curses… … nhỏ nhẻ rủa yêu nó… [185] Buck whined with suppressed eagerness. Bấc rên lên ư ử , với giọng háo hức nén lại trong cổ họng. [197] … crisp crackling. … tiếng rạn nứt tanh tách. [199] The runners slipping and grating ….. …đôi càng xe nghiến kèn kẹt trượt đi… [206] … His feet were flying like mad… Bốn chân cào bới như điên như cuồng… [209] … The sled lurched ahead… Chiếc xe lảo đảo dịch tới… [216] … bubbling over … … nháo nhác trao đổi… The reduplicated adjectives are also used in the TT to describe the adjectives and adverbs in the ST such as mắt hau háu [eager], sống dở chết dở [dying], vồ vập quấn quýt [demonstrative] cụ thể rành rành [concrete], lép kẹp [slim], vạm vỡ [heavy], lù lù [large]. As regards Textual means, the addition of some cohesive conjunctions is also applied, namely “còn”, “bỗng”, or “nhưng rồi” in the following examples: 6814495