VIETNAM NATIONAL UNIVERSITY, HA NOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST-GRADUATE STUDIES - - NGUYỄN THU HIỀN LINGUISTIC AND CULTURAL FEATURES EXPRESSED IN THE METAPHOR IN THE ENGLISH-VIETNAMESE BILINGUAL “GRIMM’S FAIRY TALES” (Những đặc trưng ngơn ngữ văn hóa thể qua phép ẩn dụ tác phẩm song ngữ Anh – Việt “Truyện cổ Grim”) M.A MINOR THESIS PROGRAMME I Field: English Linguistics Code: 8220201.01 HA NOI – 2020 VIETNAM NATIONAL UNIVERSITY, HA NOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST-GRADUATE STUDIES - - NGUYỄN THU HIỀN LINGUISTIC AND CULTURAL FEATURES EXPRESSED IN THE METAPHOR IN THE ENGLISH-VIETNAMESE BILINGUAL “GRIMM’S FAIRY TALES” (Những đặc trưng ngơn ngữ văn hóa thể qua phép ẩn dụ tác phẩm song ngữ Anh – Việt “Truyện cổ Grim”) M.A MINOR THESIS PROGRAMME I Field: English Linguistics Code: 8220201.01 Supervisor: Asso.Prof Nguyen Van Do HA NOI – 2020 DECLARATION I, Nguyen Thu Hien, hereby certify my authority of the study project report entitled LINGUISTIC AND CULTURAL FEATURES EXPRESSED IN THE METAPHOR IN THE ENGLISH-VIETNAMESE BILINGUAL “GRIMM’S FAIRY TALES” submitted in partial fulfillment of the requirements for the degree of Master in English Linguistics Except where the reference is indicated, no other person‟s work has been used without due acknowledgement in the text of the thesis I ACKNOWLEDGEMENTS For the fulfillment of the master thesis, firstly, I would love to express my deepest gratitude to my supervisor Asso.Prof Nguyen Van Do for his invaluable guidance, insightful comments and kind support Besides, I also wish to send my sincere thanks to all my colleagues at the faculty of Foreign Languages at Ha Noi University of languages and international studies faculty of post-graduate studies for their suggestions that enable me to complete my study Finally, I am also indebted to my family for their supports and care during the completion of my study II ABSTRACT This thesis titled “linguistic and cultural features expressed in the metaphor in the English-Vietnamese bilingual “Grimm‟s‟ Fairy Tales” points out some outstanding factors of the conceptual metaphors which are used in literature and in culture The main theoretical background of the study includes the concepts of the conceptual metaphors express through the emotional conceptual metaphors in both English and Vietnamese culture and descriptive, as well as the features of culture Firstly, varieties of metaphors terms are collected from authentic materials and classified by two kinds of emotions: sad and happy Then, the research paper focuses on comparing and contrasting the data, and showing the statistics of the collected terms Lastly, the conclusion clarifies the research questions and some suggestions for further study are given I hope that the research may find out some interesting elements in emotional conceptual metaphor in fairy tales and in culture III TABLE OF CONTENT CHAPTER 1: INTRODUCTION 1.1 Rationale 1.2 Aims and objectives of the study 1.3 Research questions 1.4 Research hypothesis 1.5 Scope of the study 1.6 Structure of the thesis CHAPTER 2: LITERATURE REVIEW 2.1 Framework of cognitive semantics 2.2 Definition of metaphor 2.3 Background of conceptual metaphor 2.3.1 Types of metaphors 2.3.2 Framework of conceptual metaphors 2.4 Emotional factors 10 2.4.1 Classifications of emotions 10 2.4.2 Universal of emotions in cultures 12 2.5 Characteristics of metaphors in the Grimm’s tales 12 2.6 Chapter summary 14 CHAPTER 3: METHODOLOGY 16 3.1 Research methods 16 3.2 Research process 17 3.4 Procedure of data analysis 18 3.5 Chapter summary 18 CHAPTER 4: ANALYSIS AND FINDINGS 19 4.1 Conceptual metaphors of happy in Vietnamese and English tales 19 IV 4.1.1 Conceptual metaphors of happy with the source domain CONTAINER 19 4.1.2 Conceptual metaphors of happy with the source domain DIRECTION 22 4.1.3 Conceptual metaphors of happy with the source domain FORCE .23 4.2 Conceptual metaphors of sad in Vietnamese and English tales 25 4.2.1 Conceptual metaphor of sad with the source domain CONTAINER 25 4.2.2 Conceptual metaphors of sad with the source domain DIRECTION 27 4.2.3 Conceptual metaphors of sad with the source domain FORCE 29 4.3 Evaluation of the emotions expressed in the emotional conceptual metaphors in both Vietnamese and English fairy tales 31 4.4 Chapter summary 33 CHAPTER 5: CONCLUSIONS AND RECOMMENDATIONS 34 5.1 Conclusions 34 5.2 Suggestions for further research 36 REFERENCES 37 APPENDIX 41 V CHAPTER 1: INTRODUCTION 1.1 Rationale Glucksberg (2001, pp 13–15) identifies figurative language as an interesting and mysterious phenomenon in language and literature Figurative language can appear in plenty of different forms, from literature, science, journals, advertisement, to common communication language (Dancygier and Sweetser, 2014, p 50) Based on the characteristic of imposing effectiveness in a creative world, figurative language has been become popular in literature Being considered as one of the most kinds of an exclusive figurative phenomenon, metaphors are primarily a phenomenon of a thought rather than of language, which have been applied to all aspects of life (Kovecses, 2010a) As other figures of speech, it is often a challenge to gain a firm grasp on the ability to understand metaphors because “metaphors can usefully be seen as a kind of risk-taking in the interest of richer interpersonal communication” (Carter and McCarthy, 1997, p 140), it is always an attraction to linguists and literary researchers Therefore, the study will pursue three main purposes First, the study will aim to make contribution in the views of the light onto the above questions by the theory of emotional conceptual metaphors and the analysis of fairy tales Second, the study aims to analyse how to convey and build meaning over centuries Third, the study focuses on analysing the influence of these factors on the cultural aspect in bilingual stories Franz (1996) expressed that: “Of the various types of mythological literature, fairy tales are the simplest and purest expression of the collective unconscious and thus offer the clearest basic understanding of the human psyche.” Although fairy tales have been studied from many theoretical angles, such as symbolism, feminist or structuralism However, the roles of conceptual metaphors, which are included in the fairy tales, and its affection on both language and culture are still an interesting field for the researcher It is accepted that they have a huge semiotic potency and an ever-varying polysemous nature Furthermore, with the notion of metaphors, the central to any defining characteristics of the fairy tales can also be seen to be reflected in the structured of the tales Nevertheless, the motifs of fairy tales are consisted to the plot outline of the tales‟ types, although individual versions of fairy tales may vary Fairy tales share amazingly similar plot outlines and motifs even across distant cultures On the one hand, this may be accounted for by their characterization as “the purest expression of the collective unconscious” (Franz, 1996, p 1) according to Jung‟s theory, where there is “much less cultural overlay” than in myths or legends (Franz, 2017, p 1) On the other, from a linguistic point of view, since fairy tales are abundant in symbols (conceptual metaphors), similarities may be explained by the manifestation of a specific kind of metaphor which is thought to be grounded in universal primary experience, namely, primary metaphor Primary conceptual metaphors in fairy tales may reveal common ground between cultures and their analysis is important for the enhancement of intercultural competence 1.2 Aims and objectives of the study The study aims to find out the roles of emotional conceptual metaphors, expressed in English – Vietnamese bilingual “Grimm‟s Fairy tales” For the achievement of aims of the study, there are objectives, including (i) identify classification characteristics of the system of metaphorical conceptual metaphors from the aspect of cognitive semantics; (ii) identify human emotion expression mechanisms expressed in Vietnamese and English tales; and (iii) find the common features and characteristics of language, cultural that are expressing emotions in English and Vietnamese in bilingual tales 1.3 Research questions Based on the aims and objectives, the research question is as following: How are the emotional conceptual metaphors expressed in the Grimm’s tales in both Vietnamese and English versions ? 1.4 Research hypothesis To achieve the aims and objectives, the study evaluates emotional conceptual metaphors influence on both language and culture Obviously, conceptual metaphors can be an effective tool, conveyed knowledge throughout human generations It is not only a pervasive device used in fairy tales at a local level, but a full structuring of the plot outline that underlies the essence of the fairy tale As a result, the readers will not only make sense out of the basic events of the stories, but also deeply understand the morality, punishments, love, humanity, cultural, the magic, contained in it Lakoff (1999, p 194) expressed as following: “Conceptual metaphor is pervasive in both thought and language It is hard to think of a common subjective experience that it is not convened conceptualized of metaphors… Conceptual metaphors are built out of primary metaphors plus forms of commonplace knowledge: cultural models, folk theories, or simply knowledge of beliefs that are widely accepted in a culture.” 1.5 Scope of the study Due to limitation of time, the study only focuses on the emotions of the Grimm‟s brother fairy tales (1857); and the Vietnamese version that translated by the famous translator Hữu Ngọc The study is conducted in fairy tales of the Grimm‟s brothers, the latest publication in 1857; and Vietnamese version, which is translated by the famous translator Hữu Ngọc Kinder- und Hausmärchen, collected by Jacob and Wilhelm Grimm, was first published in 1812, with a second volume following in 1814 (pre-dated 1815) A revised edition appeared in 1819 The last German edition to appear during the Grimm brothers' lifetime was the seventh (1857) Although the most accurate translation of the Grimms' title would be Children's and Household Tales, most English readers know these stories as Grimms' Fairy Tales, or all-too often, ungrammatically as Grimm's Fairy Tales Kinder- und Hausmärchen (Children and Household Tales) is listed by UNESCO in its Memory of the World Registry 1.6 Structure of the thesis In addition to Abstract, Table of Content, Bibliography and Appendix, the thesis are including five chapters as following: “ When the man waked up and perceived that he had been to sleep, he was down in his sorrow to think that she had been, and gone, and that he had not set her free ”; and in the White Snake: “ the young man sat down in the garden and considered how it was possible to this task, but he could nothing and stayed there, down in the sorrow and expecting to be led to death at the break of the day ” 4.2.3 Conceptual metaphors of sad with the source domain FORCE When talked about Talmy‟s study in 1988 about force, Kövecses, 2003 (p 202) stressed on the Feeling is force metaphor, which he thought to create the frame conceptualize about emotions The human‟s sadness feeling is conceptualized by the expression Sadness is the physical force and Sadness is the natural force Nature provides human source of food, air, water, it is also the living environment that nourishes people However, the harsh nature also has many potential dangers for humans such as rain, wind, flood or drought Vietnam is originally a purely agricultural country, so nature has become a top concern of Vietnamese people Thus, the linguistic thinking or traditional ways of thinking of Vietnamese people from the past are specific, intuitive, and sensible, making it easy to pay attention to the specific things as immediate as natural phenomena Therefore, it is easy to understand why nature is found in idioms expressing sad emotions of Vietnamese language including Gió dập mưa dồn; Gió thảm mưa sầu; Khóc gió than mây; Khóc mưa (như gió); Mây sầu gió thảm; Nước mắt mưa; Than mây khóc gió; and Than trời trách đất Although there is no English idioms express sadness using the conceptual metaphor Sadness is natural force, both Vietnamese and English have the idioms express the sadness by the expression Sadness is the Physical force The physical force here could be understood by the internal force, force or pressure from the environment on an individual There are 17 idioms, including Buốt kim châm; Chẳng vò mà rối, chẳng dần mà đau; Đau búa bổ; Đau ruột cắt; Đau dần; Đau đứt ruột; Đau xé; Đứt ruột cháy gan; Đau xé; Đứt 29 khúc ruột; Lịng đau cắt; Lời nói tựa nhát dao; Nát gan nát ruột; Ruột đau cắt; Tay đứt ruột xót; Thắt gan thắt ruột; and Xé ruột xé gan For example, in the tale “Two brothers” (Vietnamese translation): “ Tới nộp công chúa cho rồng khổng lồ, đức vua quan tể tướng quần thần theo để tiễn nàng Từ xa nàng nom thấy chàng thợ săn đứng đỉnh núi, nàng ngỡ rồng đợi nàng nên không chịu Nhưng nghĩ đến số phận thành, nàng đành phải đi, bước chân nặng trĩu Vua quần thần quay về, lịng đau cắt, buồn vơ hạn, quan tể tướng cịn phải đứng lại để chứng kiến từ xa việc xảy Anh quỳ xuống chân mụ già, van xin mụ tha cho Jô-rin-đơ Mụ trả lời không anh lại thấy mặt cô nữa, mụ bỏ Anh đứt khúc ruột, van vỉ vơ ích – Trời ơi, đến với tơi đây?” While the Western people stress the center of feelings, awareness on the symbol of “heart”, the Vietnamese consider the internal organs like “lòng, ruột, gan, bụng” are the container of feeling The appearance of the physical force here are the result of using the layers of verbs, such as “vò, dần, cắt, đứt, cháy, thắt, xé” These are verbs that describe the intensity of the impact, exerting a strong force on another object or another person to achieve the result of splitting or hurting the object or person In English, there are 14 idioms that show the sadness using the S.D Force For example, in the tale The Gallant Tailor: “ the woman, who had expected to find a good customer, gave him what he asked for, but beat her breast and grumbling Then the girl went back again to the well, not knowing what to do, and with her heart bleed, she jumped down into the well the same way the spindle had gone…the tailor plumbed the depths as he sat alone in his house, and would willingly have had his sons back again, but no one knew where they had gone ” According to the idioms above, the verbs that describe the physical force includes beat, break, crack, hit, lick, make, plumb, rub, wipe, wring Besides, to express the sad feeling, both English and Vietnamese use the action “cry” Vietnamese has 10 30 idioms, including Dở khóc dở cười; Khóc dở mếu dở; Khóc đừng khóc ngồi; Khóc gió than mây; Khóc mắt; Khóc mướn khóc vay; Khóc cha chế; Khóc gió mưa; Khóc ri; and Khóc mưa For example, in the tale Snow White (Vietnamese translation): “ Những lùn nhà thấy Bạch Tuyết tắt thở nằm dài mặt đất Họ nâng dậy, tìm xem có dấu vết chất độc khơng Họ nới áo cho cô, chải đầu cho cô, lấy nước rượu tắm rửa cho cô, không ăn thua, cô Họ đặt cô lên giường Cả bảy người ngồi quanh thi hài, than khóc gió mưa ròng rã ba ngày Bác ta nghĩ chỗ vàng đêm trước, vội chạy lấy, bác hoảng sợ thấy vàng trở thành than Bác ta đưa bàn tay nhọ nhem vỗ trán thấy đầu cạo nhẵn thín, cằm bị cạo nhẵn Thế chưa hết khổ: lưng vỗn có bướu, lại mọc thêm bướu trước ngực Bác thấy rõ tham thâm nên lâm vào hồn cảnh khóc dở mếu dở Bác thợ may tốt bụng nghe thấy tiếng khóc tỉnh dậy, bác an ủi bạn: -Thơi đơi ta bạn đường, bác với tôi, ta hưởng Bác thợ may giữ lời hứa, bác thợ vàng suốt đời phải mang theo hai bướu phải đội mũ để che đầu trọc lốc” While in English, there are four idioms using cry and tear: cry one’s eyes out, cry over spilled milk, end in tears, vale of tears When expressing the metaphorical sadness with the domain of force, both English and Vietnamese idioms use crying behavior, confirming the universality of emotions in the two Vietnamese-English cultures Wierzbicka (1999) stated “ all languages have similar words, though not necessarily the same meaning, as cry refers to the mechanical expression of negative emotions ” 4.3 Evaluation of the emotions expressed in the emotional conceptual metaphors in both Vietnamese and English fairy tales Emotional conceptual metaphors have effects on the language of the Grimm‟s tales at the structure point They are often the adverbial clause or the complex clause in English versions (Brown and Miller, 2013) In Vietnamese versions, the 31 translators usually use idioms or phrases to make the fairy tales from the far, while Europe are more and more close to the readers or hearers of all ages from all over the world Structural metaphors have the most powerful roles because of their popularity These terms provide the richest source of such elaboration to much more than just orientational and ontological concepts, taking one- third in the number of metaphors in fairy tales In addition, one highly structured and clearly delineated concept can structure another Similarity orientational and ontological metaphors, structural metaphors are grounded in systematic correlations within our experience (Inc, 1959) Conceptual metaphors are one of the most important factors which are having great effects on making meaning in the fairy tales Less cultures give the priorities to make up-down orientation There are cultures where balance or centrality play a much more important role than on others Alternatively, consider the nonspatial orientation active-passive, for us “Active is up” and “Passive is down” in most matters (Lakoff and Johnson, 2003) Nevertheless, there are cultures where passivity is valued more than activity The major orientations of up-down, in-out, central-peripheral, active-passive, etc., are seem to cut across all cultures, but which concepts are oriented which way and which orientations are most important vary from culture to culture (Lakoff and Johnson, 1980) It is remarkable that metaphors have their great and potential power in every tale of the Grimm‟s tales They not only make the tales condensed and deep in meaning but also create new ways for readers to experience different aspects of the life Thus, to find out the truth revealed, it is necessary for readers to dive deeper into the meaning under the surface of the words Conceptual metaphors are the frame – based of language and literary Originally, these creative literary metaphors are typically less clear but richer in meaning than either every day or scientific metaphors However, in literature, this term in the structural kind seem to be less frequent than others based on our 32 everyday, ordinary conceptual system One of the startling discoveries of work on poetic language, mostly based on conventional and ordinary conceptual metaphors, by cognitive linguists is the recognition (Kovecses, 2006) In several ways, tales can regularly transform ordinary conceptual metaphors by extending, elaboration, questioning, and combining Personification is another common device used in literary texts This chapter will explain why the abstract concept of time is personified with the help of the generic-level metaphor events Literary texts also abound in image-based metaphors These single images require the mapping of several elements of one image onto another Although people are not explicitly instructed about which element of one-image maps onto which element of another, they can perform the mappings successfully in the process of interpreting literary texts Some metaphors extend through entire literary texts or large portions of them These are called “extended metaphors” or “megametaphors” and they may not explicitly “surface” in the texts at all but tend to appear in the form of what is called “micro-metaphors” (Bailey, 2003) Due to the emotional conceptual metaphors, the imaginations of readers can be widening across the countries Humans depend on experiences to the world or the similar things to explain or compare the observed things with knowledge Therefore, it is crucial to know clearly the main culture before knowing the foreign cultures 4.4 Chapter summary This chapter answered the research questions about the role of emotional conceptual metaphors expressed by the idioms in the Grimm‟s tales in both English and Vietnamese versions Besides, the researcher pointed out some useful way to set up and to teach conceptual metaphors in classes 33 CHAPTER 5: CONCLUSIONS AND RECOMMENDATIONS 5.1 Conclusions The main result of this study is to find out the similarities between the Kövecses‟ studies on the English language and the Vietnamese versions, especially idioms The system of metaphorical concepts functions generally in the same way in “The Grimm brothers‟ tales” as in on the English language There are still some of the metaphorical concepts that one ascertains in the tales not always have an exact equivalent in the Lakoff-Johnsonian theory and Kövecses‟ research They are closely related in terms of content and correspondence between target and source domains This conclusion confirms the Lakoff-Johnsonian idea that many metaphorical concepts have developed in connection with the way how our bodies and minds are constituted and how humans function and behave in the world The central roles of the human body and of spatial orientation particularly point to the relevance In the center of metaphors‟ system, a human body is found, corresponding to the human mind The body moves forward on different roads or paths: the road of life, the ethically „right‟ road, and the path of time These roads often, but not always, converge The metaphorical body can be weighed down by burdens, corresponding to difficulties and problems in life Other metaphorical persons or other outer influences can also push it in different directions (This aspect of the system is connected to the States are locations metaphor and the source domain „physical force‟) The body can be shaken by worries or jump and dance from youthful strength It gradually loses heat as it advances on the path of time or the road of life, and a state of contentment is connected to the body as it becomes lighter or less heavy in the source domain The eyes of the body function as understanding and knowledge in the target domain and can also apply different metaphorical perspectives They can look into the future and form opinions by 34 perceiving physical objects The physical objects correspond to abstract entities including emotions, states, or philosophical questions in the target domain The metaphorical hands of the body can touch, hold, and turn the physical objects and generally denote abstract relations to those objects/abstract entities The mind is a body, life is a journey, states are locations, purposes are destinations, life is heat, understanding is seeing, understanding is grasping, significant is big, talent is light, fame is light, abstract entities are physical objects, difficulties are burdens, and of the source domains (physical) force and path (the path of time) The metaphorical connections perhaps provide a more direct understanding of them than literal descriptions The mind is linked to the human body but this connection cannot be too overt; a reservation must be added in order to stress that the mind and the body, although metaphorically linked to each other, remain separate entities The reason for this fact is doubtlessly that they are too fundamental to form part of explicit comparisons Theoretically, with four dominant principles, cognitive semantics has contributed and clarified the conceptual metaphor theory When confirming that metaphor belongs to the cognitive category, it is necessary to analyse it through mapping model or visual scheme, and based on empirical experience Language and culture are closely related and complementary categories After analysing the conceptual metaphorical characteristics of the five emotions of Vietnamese idioms compared with English idioms, although the two peoples are geographically distant, there are similarities At the same time on the way, language creation is governed by universality when perceiving the objective world and the cultural differences also leave the characteristic sediments of the two languages There are the similarities in the emotional conceptual metaphorical between Vietnamese and in English However, through the survey results in chapter 2, many linguistic data of Vietnamese and English express two types of happy and sad emotions, illustrating the difference in tissue cultural images and perception towards many creative and subtle symbolic meanings of Vietnamese This does not negate the profound and 35 strict arguments of the English versions Through the analysis of the survey data source, this problem can be realized more clearly In the present, metaphoric use is even more common than literature use of a word or an expression Thus, it is necessary to provide not only literary students‟ but also ones studying language skills with certain knowledge of conceptual metaphors Using tales is one of the most effective ways to teach metaphors to students because tales are full of metaphors and they can easily attract students‟ attention as well as engage their emotion In this thesis, some activities using fairy tales to teach metaphor to students are suggested, additionally, teachers in both language skills and literature classroom can themselves design other appropriate exercises and activities to meet their own students‟ demands and levels of language competence 5.2 Suggestions for further research In this thesis, metaphor is only one type of figures of speech that is focused on Besides, many other interseting and useful 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kite On the top of the world be flying high Over the moon be on the tiles Walk on air float on air 10 Whoop it up give sth the thumbs up 11 With a light heart on cloud nine 12 With one‟s tail up Appendix C – Vietnamese idioms that use the resource domain acting in mapping to the domain of happy emotions Chim sổ lồng Chuột sa chĩnh gạo Như bắt vàng Như trút gánh nặng Được lời cởi lòng Mở cờ bụng Nở ruột nở gan Tay bắt mặt mừng Appendix D – English idioms applied the model happy emotional responses Be in a transport of delight/joy Enter the spirit of sth 41 Go into orbit Go overboard Give sth the thumbs up Give st a new lease on life Walk on air Float on air Appendix E – Vietnamese idioms of sad that use tears image Cười nên tiếng khóc Giọt châu tầm tã Giọt ngắn giọt dài Giọt dài giọt ngắn Khóc mắt Nước mắt vòng quanh Nước mắt ngắn nước mắt dài Nước mắt lưng tròng Nước mắt mưa Appendix F - English idioms created by the metaphorical source domain face show sad emotions A face as long as a wet week Face like a wet weekend A long face A slap in the face Wipe the smile off one‟s face Appendix G – 11 English idioms using the conceptual metaphor container with the prepositions of place like in, out of, with Be in doldrums (feeling bored) Be out of sorts (feeling angry) Down in the mouth (in sad mood) Down in the dumps (in sad mood) 42 Empty nest syndrome (feeling empty) In bad mood (feeling sad) More in sorrow than in anger (sad than angry) One‟s heart is in one‟s boots (so much sad) Out of one‟s elements (feeling not comfortable and sad) 10 With a heavy heart (having trouble) 11 With one‟s heart in one‟s boots (feeling sad) Appendix H - English idioms about mapping heart Die of a broken heart (feeling wretched) Eat one‟s hurt out (extremely hurt) Make one‟s heart bleed (make somebody in sad) One‟s heart is in one‟s boots (feeling sad) Have a heavy heart (feeling extremely sad) Sick at heart (feeling sad) Sb‟s heart sink (feeling sad) With one‟s heart in one‟s boots (feeling sad) With a heavy heart (feeling sad) 10 One‟s heart bleeds (somebody feel sad) 43 ... ENGLISH-VIETNAMESE BILINGUAL “GRIMM’S FAIRY TALES” (Những đặc trưng ngơn ngữ văn hóa thể qua phép ẩn dụ tác phẩm song ngữ Anh – Việt “Truyện cổ Grim”) M.A MINOR THESIS PROGRAMME I Field: English... (Appendix C) For example, in the tale “Hai anh em”: “…Công chúa sợ chẳng biết nói Sau nàng nhớ tới sợi dây vàng cho vật để buộc cổ Nàng tìm lúc thấy chìa khóa vàng cổ sư tử Nàng trút gánh nặng lòng,... quần thần quay về, lịng đau cắt, buồn vơ hạn, quan tể tướng cịn phải đứng lại để chứng kiến từ xa việc xảy Anh quỳ xuống chân mụ già, van xin mụ tha cho Jô-rin-đơ Mụ trả lời không anh lại thấy