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Pham Yen Nhi - Graduation Thesis

The document is a graduation thesis by Phạm Yến Nhi from Vietnam National University, focusing on the translation quality assessment of the Vietnamese-English version of 'Cho Tôi Xin Một Vé Đi Tuổi Thơ' using Juliane House's Translation Quality Assessment model. The study finds that while the translation conveys much of the original meaning, some cultural nuances were simplified, suggesting a need for better preservation of cultural identity in future translations. The thesis emphasizes the importance of maintaining cultural depth in translations aimed at younger audiences.

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0% found this document useful (0 votes)
14 views48 pages

Pham Yen Nhi - Graduation Thesis

The document is a graduation thesis by Phạm Yến Nhi from Vietnam National University, focusing on the translation quality assessment of the Vietnamese-English version of 'Cho Tôi Xin Một Vé Đi Tuổi Thơ' using Juliane House's Translation Quality Assessment model. The study finds that while the translation conveys much of the original meaning, some cultural nuances were simplified, suggesting a need for better preservation of cultural identity in future translations. The thesis emphasizes the importance of maintaining cultural depth in translations aimed at younger audiences.

Uploaded by

phamyennhi2309
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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VIETNAM NATIONAL UNIVERSITY, HANOI

UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES

FACULTY OF ENGLISH LANGUAGE AND CULTURE

GRADUATION PAPER

TRANSLATION QUALITY ASSESSMENT OF THE VIETNAMESE-


ENGLISH TRANSLATION OF “CHO TÔI XIN MỘT VÉ ĐI TUỔI THƠ”
PUBLISHED BY TRE PUBLISHING HOUSE.

Supervisor: Tạ Thị Thu Hằng (Ph.D.)

Student: Phạm Yến Nhi

Course: QH2021.F1.E4

HÀ NỘI – 2023

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ĐẠI HỌC QUỐC GIA HÀ NỘI

TRƯỜNG ĐẠI HỌC NGOẠI NGỮ

KHOA NGÔN NGỮ VÀ VĂN HÓA ANH

KHÓA LUẬN TỐT NGHIỆP

ĐÁNH GIÁ CHẤT LƯỢNG BẢN DỊCH VIỆT-ANH CỦA TÁC PHẨM
"CHO TÔI XIN MỘT VÉ ĐI TUỔI THƠ" CỦA NHÀ XUẤT BẢN TRẺ

Giáo viên hướng dẫn: Tạ Thị Thu Hằng (TS.)

Sinh viên: Phạm Yến Nhi

Khóa: QH2021.F1.E4

HÀ NỘI – 2023

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SIGNATURE OF APPROVAL

SUPERVISOR's COMMENTS

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ACCEPTANCE

I hereby state that I, Phạm Yến Nhi, class QH2021.F1.E4, being a


candidate for the degree of Bachelor of Arts (English Language Teacher
Education) accept the requirements of the College relating to the retention
and use of Bachelor's Graduation Paper deposited in the library.

In terms of these conditions, I agree that the origin of my paper deposited


in the library should be accessible for the purposes of study and research, in
accordance with the normal conditions established by the librarian for the
care, loan or reproduction of the paper.

Phạm Yến Nhi

Hanoi, July 28th 2025

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ACKNOWLEDGEMENTS

I would like to express my sincere gratitude to my supervisor for their


invaluable guidance, patience, and encouragement throughout the process of
completing this thesis. Their expertise and dedicated support have been
fundamental to the development of this research.

I am also deeply thankful to my family, friends, and partner for their


unwavering support, constant encouragement, and understanding during this
journey. Their presence and belief in me have been a source of strength
every step of the way.

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ABSTRACT

This study investigates the translation quality of the Vietnamese-English


version of “Cho Tôi Xin Một Vé Đi Tuổi Thơ” (Ticket to Childhood) by
Nguyễn Nhật Ánh, published by Tre Publishing House. The research adopts
Juliane House's Translation Quality Assessment (TQA) model as the
primary theoretical framework to evaluate whether the English translation
achieves functional equivalence and maintains the original's communicative
intent.

The study applies a comparative textual analysis method, examining


selected excerpts from both the source and target texts. Special attention is
given to the treatment of cultural elements and Vietnamese proper names, as
these are often critical in shaping meaning and reader response. The analysis
follows House's model to identify mismatches at both the overt and covert
levels, focusing on register, genre, and textual functions.

Findings indicate that while the English translation successfully conveys


much of the source text's meaning and tone, several cultural nuances
especially in the handling of Vietnamese names and context-specific
expressions have been domesticated or simplified, resulting in partial loss of
cultural depth. However, the overall functional equivalence is largely
maintained, and the translated version remains accessible to international
readers.

It is recommended that future Vietnamese-English literary translations


pay closer attention to the preservation of cultural identity and linguistic
distinctiveness, especially when translating texts targeted at younger
audiences. This study also demonstrates the usefulness of House's model in
assessing literary translations across linguistically and culturally distinct
languages.

Keywords: Translation Quality Assessment, Vietnamese-English


translation, cultural elements, functional equivalence.

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TABLE OF CONTENTS

ACCEPTANCE ............................................................................................. 4

ACKNOWLEDGEMENTS.......................................................................... 5

ABSTRACT ................................................................................................... 6

TABLE OF CONTENTS.............................................................................. 7

LIST OF ABBREVIATIONS ....................................................................... 10

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defined.

Evolution of Translation Quality Assessment Models..............Error!


Bookmark not defined.

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Juliane House's Translation Quality Assessment Theory


(TQA) ........................................................ Error! Bookmark not defined.

Steps for Applying House's Translation Quality Assessment


(TQA) Model:........................................... Error! Bookmark not defined.

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4.3.2. Tenor .......................................... Error! Bookmark not defined.

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4.3.3. Mode ........................................... Error! Bookmark not defined.

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4.5.5. Function ..................................... Error! Bookmark not defined.

REFERENCES ............................................................................................ 11

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LIST OF ABBREVIATIONS

TQA Translation Quality Assessment

ST Source text
TT Target text
E.g. Example

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CHAPTER 1. INTRODUCTION

This first chapter outlines the rationale behind the study, introduces
the research questions, and defines both the scope and significance of
the research.

1.1. Statement of research problems and rationales for the study

This study focuses on evaluating the quality of the Vietnamese-


English translation of "Cho tôi xin một vé đi tuổi thơ”" (Ticket to
Childhood) of Tre Publishing House with the translation quality
assessment theory of Juliane House (1997).

"Ticket to Childhood" is one of the most famous books by writer


Nguyen Nhat Anh. Though it appears to be a simple story about
childhood, the author wrote on the back cover, "I wrote this book not for
children. I wrote for those who used to be children." The author exploits
a completely new perspective on the not-so-new topic of childhood. He
writes about childhood from the perspective of an adult, which attracts a
wide range of readers of all ages, including me.

The work has won many awards, especially the ASEAN Literature
Award in 2010. Therefore, it has been translated into many languages
and reached global readers. The most popular and best-selling version of
the Vietnamese-English translation "Ticket to Childhood" is the one by
Tre Publishing House. However, Tre Publishing House is not the first
unit to publish the English version of this work but The Overlook Press
in 2014.

I choose the version by Tre Publishing House instead of the original


translation by The Overlook Press because it is easier for my target
audience, the Vietnamese translation community, to purchase in
bookstores and e-commerce platforms nationwide.

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The English-Vietnamese translation of "Ticket to Childhood" also


indicates the appeal of Vietnamese works in the world. It not only helps
enrich the global literary landscape but also promotes a deeper
understanding of Vietnamese culture among international friends.

As Vietnamese literary works become more popular and globally


recognized, there will be a growing demand for Vietnamese-English
translations of modern literary works. In translation, preserving cultural
values is just as important as conveying meaning especially when it
comes to a language as rich and nuanced as Vietnamese. If not handled
carefully, cultural elements can easily be lost or misinterpreted in the
process of translating into another language.

This study uses Juliane House’s Translation Quality Assessment


(TQA) model, a well-regarded framework in the field. Originally
introduced in 1977 and later refined, House’s model integrates both
linguistic and pragmatic perspectives to assess the effectiveness of a
translation. Its structured and practical framework has made it widely
adopted among researchers and practitioners in the field.

Here, the model is applied to the English translation of “Cho tôi xin
một vé đi tuổi thơ”, with a focus on the principle of functional
equivalence. The aim is to examine how well the translation captures not
only the literal meaning, but also the cultural nuances and emotional tone
of the original Vietnamese text making sure it resonates with English-
speaking readers in the way it was meant to.

While translation studies often focus on European languages, there’s


still relatively little research on Vietnamese-English translation,
particularly in the realm of literature, where cultural and emotional
layers are key. Very few studies have used House’s model to explore
this language pair. Since the model was originally designed with
European languages in mind, this study also looks at how well it holds

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up when applied to Vietnamese-English translation, and whether any


adjustments are needed.

1.2. Research aims and research question

This study evaluates the Vietnamese–English translation of “Ticket


to Childhood” by Nguyen Nhat Anh published by Tre Publishing House
through the lens of Juliane House's Translation Quality Assessment
(TQA) model. It will assess how effectively the version meets the criteria
of cultural preservation and functional equivalence by analyzing both
the original and the translation.

The study also aims to contribute to the field of translation studies,


particularly in the context of Vietnamese-English literary translations,
by identifying the strengths and weaknesses of the translation and
highlighting challenges in conveying cultural and emotional content
across linguistic boundaries.

Research Questions

How does the translation "Ticket to Childhood" meet the standards of


functional equivalence as outlined in Juliane House's Translation
Quality Assessment (TQA) model?

● To what extent are the cultural terms and Vietnamese proper


names accurately rendered in the translation?

● Does the translation achieve the same function as the original


text?

1.3. Scope of study

This study focuses on evaluating the quality of the Vietnamese-


English translation "Ticket to Childhood” by Nguyen Nhat Anh,

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published by Tre Publishing House. The scope is defined by the


following key parameters:

Text Selection

The study will analyze the English translation of "Ticket to


Childhood" in comparison with the original Vietnamese version. The
entire text will be analyzed in a general way to assess the functional
equivalence between both English and Vietnamese versions. Some
excerpts will be also chosen based on their representation of key cultural
references and idiomatic expressions, which are crucial to understanding
the core themes of the novel.

Translation Quality Assessment

This study uses Juliane House’s 1997 Translation Quality Assessment


(TQA) model to analyze the translation. The main idea of House’s model
is functional equivalence, which means checking if the translation keeps
the same meaning and purpose as the original. The study looks at
whether the English version clearly shows the original message and
cultural details. It also checks how well idioms and culture-specific
words are changed to fit English readers.

By looking at these points, the study gives a careful review of the


translation, showing both the problems and successes in sharing
Vietnamese literature and culture with readers around the world.

1.4. Significance of the study

This study gives useful ideas for the fields of comparative literature,
translation studies, and cultural studies by looking at the difficulties of
translating cultural details between languages. It also adds to the small
but growing number of studies on Vietnamese–English translation,
helping to fill gaps in research about how cultures share literature.

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Besides its academic value, the study also gives helpful advice for
translators and publishers working with Vietnamese books. It shows
ways to keep the cultural meaning and feeling strong in English
translations.By identifying the strengths and weaknesses of the Tre
Publishing House translation, the study offers constructive feedback to
improve future translations of culturally rich texts.

1.5. Structure of the study

The study consists of five chapters. The first chapter has introduced
the rationale for conducting the study, including the background of the
research, the statement of the problem, research aims and questions,
scope of the study, and the significance of the research. The following
chapter reviews relevant literature on translation studies, with a focus on
Juliane House's Translation Quality Assessment (TQA) model and its
applications. Chapter Three presents the methodology adopted for the
study, including the selection of source texts, analytical framework, and
procedures for data collection and analysis. Chapter Four provides the
findings and discussion based on the application of House's model to the
Vietnamese-English translation of “Ticket to Childhood”. The final
chapter concludes the study by summarizing key findings, discussing
their implications, identifying limitations, and suggesting directions for
future research.

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CHAPTER 2. LITERATURE REVIEW

2.1 Key concepts and theoretical frameworks

Evolution of Translation Quality Assessment Models

In the history of translation criticism, translation quality assessment


is considered one of the most important areas of research (Holmes,
1988). Initially, scholars focused on linguistic accuracy, but after the
concept of dynamic equivalence (later called functional equivalence) by
Eugene Nida (1964), the translation approach changed. Nida proposed
that translation should be evaluated based on its ability to elicit the same
response from the target audience as the original does from its source
audience. In other words, a good translation goes beyond a literal, word-
for-word rendering it should be meaningful and accessible to the new
audience.

Building on Nida's ideas, scholars such as Reiss (1971) and Nord


(1991) developed functionalist approaches that emphasize the purpose
and function of the translation within the target culture. Reiss argued that
the quality of a translation depends on how effectively it fulfills its
communicative function, while Nord stressed the importance of aligning
the translation with the original text's social and cultural intentions.

By the 1990s, people began looking at translation quality in a new


way. They started to focus more on how context affects both the way a
translation is done and how it is judged. This change came from the
growing use of discourse analysis. Researchers like Hatim and Mason
(1990), Baker (1992), and House (1997) created models that showed
how the structure of the text and the situation around it can shape a
translation and how we decide if it is good or not.

Juliane House's Translation Quality Assessment Theory (TQA)

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Juliane House’s Translation Quality Assessment (TQA) theory gives


a clear way to check how good a translation is. It looks at both the
language and the culture in the translation. First shared in 1977, her
model focused on comparing the original text with the translation to see
if the translation keeps the same meaning and use in the new language
and culture.

In 1997, House updated her model by adding ideas from pragmatics


and discourse analysis. This helped people look more closely at how a
translation works in real situations. One important new idea was
"cultural filters"—ways to change a translation so it fits the target culture
better, while still keeping the original purpose.

House’s model is based on Halliday’s (1973) functional theory of


language. Drawing on Halliday’s framework, she posits that a translation
should fulfill the same core functions as the original: the ideational
(conceptual) and interpersonal. To achieve this, the translation must also
employ equivalent pragmatic strategies that align with the
communicative purpose of the source text in the target language context.

Steps for Applying House's Translation Quality Assessment


(TQA) Model:

Step 1: Conduct a detailed analysis of the original text, focusing on


vocabulary, syntax, and overall structure.

● Field – the subject matter and type of social activity,


● Tenor – the author's background, participant roles and
relationships, social attitudes, and the communication setting,
● Mode – whether the text is spoken or written and its degree of
planning or spontaneity.

Step 2: Identify and describe the genre of the original text.

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Step 3: Determine the text functions of the original, including both


the ideational (conceptual) and interpersonal functions.

Step 4: Apply the same analytical framework to the translated text.


This includes examining its vocabulary, syntax, and structure according
to Field, Tenor, and Mode, and identifying its genre.

Step 5: Compare the original and the translated texts across the three
key dimensions: Register (Field, Tenor, Mode), Genre, and Text
Function. Highlight any mismatches, shifts, or translation errors that
may affect the text's overall function or meaning.

Step 6: Based on the comparative analysis, draw conclusions about


the overall quality of the translation particularly how well it preserves
the function and communicative intent of the original text.

2.2. Research gaps

While there is extensive research on translation quality, cultural


adaptation, and emotional resonance in literary translation, several
important gaps remain gaps that this study aims to address.

One significant gap is the limited application of Juliane House's


Translation Quality Assessment (TQA) theory to Vietnamese–English
translations. Although House's model has been widely used for
European language pairs demonstrated in studies by Jiang (2010),
Alikademi (2015), and Tabrizi et al. (2013) in fields ranging from
literature to advertising and technical texts it has rarely been explored in
the context of Vietnamese literature.

This study seeks to bridge that gap by applying House's model to the
English translation of “Cho tôi xin một vé đi tuổi thơ” (Ticket to
Childhood). The focus is on examining the challenges involved in

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preserving the cultural nuances and emotional depth of this culturally


rich Vietnamese text in its English rendering.

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CHAPTER 3. METHODOLOGY

3.1. Research design

This study adopts a qualitative research design, aiming to provide an


in-depth analysis of the translation quality of “Ticket to Childhood”, the
English version of Nguyen Nhat Anh's “Cho tôi xin một vé đi tuổi thơ”.
The qualitative approach is selected for its suitability in exploring
nuanced and context-dependent aspects of translation, especially
cultural terms and proper names, which are central to this study.

To guide the analysis, the study applies House's (1997) Translation


Quality Assessment (TQA) model, a widely recognized framework for
evaluating translation equivalence across linguistic and pragmatic
levels. The use of this model ensures that the analysis follows an
established methodology for assessing translation quality in a systematic
manner.

3.2. Data collection

The study examines two texts:

● The source text: “Cho tôi xin một vé đi tuổi thơ” by Nguyễn
Nhật Ánh, published by Tre Publishing House.
● The target text: “Ticket to Childhood”, the English translation
published by Tre Publishing House.

These texts were selected because they offer an authentic example of


literary translation from Vietnamese into English, and the translation
was carried out by a professional publishing house, thus meeting the
criteria for representativeness in a translation quality study.

Both texts are analyzed side-by-side, focusing specifically on the


rendering of cultural references and proper names, as these elements are
often challenging and culturally loaded in translation.

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3.3. Research analysis

This study adopts a predominantly qualitative descriptive approach,


aiming to explore how translation strategies influence the quality and
communicative value of the English translation of “Cho tôi xin một vé
đi tuổi thơ”. The analysis follows a thematic and comparative method
grounded in House's (2015) Translation Quality Assessment (TQA)
model, with particular focus on the Register, Genre, and Textual
Function components.

Step 1: The original Vietnamese text is examined in detail, with


attention to its lexical choices, syntactic features, and textual
organization. This descriptive analysis is structured around the three
contextual dimensions of Register:

● Field, which concerns the content and social action represented;


● Tenor, referring to the authorial stance, participant roles, and
the relationships conveyed; and
● Mode, addressing the channel of communication and the degree
of formality or spontaneity.

Step 2: Identify the genre of the original text by examining its


structural and communicative conventions. This step situates the text
within a broader socio-cultural context and helps establish expectations
regarding its form, style, and function.

Step 3: Interpret the textual functions of the source text, with


emphasis on the ideational function (how experiences, concepts, and
content are represented) and the interpersonal function (how
relationships, attitudes, and social roles are conveyed).

Step 4: Analyze the English translation published by Tre Publishing


House using the same analytical framework. This parallel assessment
examines how the Register variables (Field, Tenor, and Mode), Genre,

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and Textual Functions are realized in the target text, while noting any
shifts, adaptations, or omissions.

Step 5: Conduct a comparative interpretive analysis to identify


patterns of equivalence, transformation, or divergence between the
source and target texts. Textual examples are used to illustrate how
specific translation choices may affect meaning, stylistic nuance, or
communicative intent.

Step 6: Provide a qualitative evaluation of the translation’s overall


effectiveness. The final assessment focuses on how well the translation
preserves the intended function and pragmatic force of the original text,
in accordance with House’s criteria for functional equivalence.

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CHAPTER 4. RESULTS & DISCUSSION

4.1. Original analysis

4.1.1. Field

According to House’s (1997) model, the “field” component refers to


the subject matter and the type of social action represented in a text. In
Cho tôi xin một vé đi tuổi thơ, the field centers on themes of childhood
nostalgia and a reflective critique of adult life. These ideas are conveyed
through the retrospective voice of a child narrator, whose sharp and often
humorous observations highlight the contradictions, pressures, and
perceived absurdities of adulthood. This narrative perspective invites
readers to reconsider adult life through the lens of a simpler, more
imaginative time.

Lexically, the text is rich in descriptive and emotionally evocative


expressions rooted in childhood experiences. The story uses familiar
words, metaphors, and playful images that help show the main ideas of
memory, identity, and the difference between being a child and an adult.

In terms of sentence structure, the story mixes short, simple sentences


with longer, emotional questions. This style matches the way children
often think and speak freely.

One important feature of the text is the use of personal pronouns.


These words not only show how the characters relate to each other but
also reflect the social roles and actions in the story. This helps to
highlight the tension between who a person really is and what society
expects from them—a key theme in the novel.

4.1.2. Tenor

Tenor refers to the people involved in communication—their


background, roles, and attitudes.

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In terms of background, Nguyễn Nhật Ánh, the author of Cho tôi xin
một vé đi tuổi thơ, is a famous Vietnamese writer from Quảng Nam. He
comes from a middle-class family and is well known for writing stories
for children and teenagers. The book was first published in 2008. It uses
standard modern Vietnamese, but also includes some local words and
informal ways of speaking from the Southern dialect, which reflects the
culture of that region.

When it comes to the author’s attitude, the story shows both a loving
and funny view of childhood. At the same time, it quietly criticizes adult
life. Through the child narrator, Mùi, the author speaks in a thoughtful
and sometimes ironic way. He shows how childhood is full of
imagination and freedom, while adulthood can be strict and full of rules.

In terms of social roles, the story often uses informal and personal
pronouns like tôi (I) and các bạn (you). This makes the story feel like a
friendly chat between the narrator and the reader. It helps reduce the
distance between them and creates a warm, close feeling. The tone is
easy to understand and fun for young readers, but it also makes older
readers think more deeply.

4.1.3. Mode

The way the story is told in Cho tôi xin một vé đi tuổi thơ is quite
varied. It mixes storytelling, the character’s thoughts, and conversations
between people. The story is mostly written in prose and moves back
and forth between the thoughts of an adult remembering his childhood
and the real-time talks of children. This mix helps show both memory
and the feeling of being in the moment.

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The language used in the book is friendly and sounds like someone
talking. It often feels warm, with a bit of humor and quiet thinking. The
story uses both formal and informal ways of speaking, depending on the
situation and emotions. This way of writing helps the book connect with
many readers and keeps the voice of the story true to life.

4.1.4. Genre

Cho tôi xin một vé đi tuổi thơ is a thoughtful and emotional story that
mixes made-up events, real memories, and messages about society. With
a tone that is both funny and serious, the book talks about important ideas
like the innocence of childhood, the sadness that can come with growing
up, and how imagination slowly fades over time.

The story is told in a simple but beautiful way. It gently points out
how strict adult rules and expectations can make children grow up too
fast. The book is partly based on the writer’s own life and has deep
thoughts in it. It speaks to many kinds of readers—both children and
adults who look back on their own childhood with memories and
feelings.

4.2. Function of original text

Two metafunctions—ideational and interpersonal—are particularly


prominent in Cho tôi xin một vé đi tuổi thơ.

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The ideational function of the text is shown through the author’s rich
and expressive use of language. This includes many descriptive
adjectives, vivid images, color words, and rhetorical devices like
repetition and metaphor. Together, these elements help create a detailed
and emotionally powerful picture of childhood. In terms of grammar, the
text uses a wide variety of sentence structures, including complex
sentences, prepositional phrases, and appositive constructions. The use
of conjunctions also supports cohesion, helping the story flow smoothly
and stay connected.

The interpersonal function is expressed through the frequent use of


personal pronouns like tôi (I), bạn (you), and others, which create a
friendly and intimate tone. The writing style combines features of both
spoken and written language, making the narrator’s voice feel warm and
relatable. This style removes formal distance and makes the narrator’s
reflections feel sincere, personal, and emotionally engaging.

4.3. Translation analysis

4.3.1. Field

In the translated version, the field, which refers to the topic and type
of social activity described, mostly stays the same as in the original
text.The translation retains the core themes of childhood nostalgia and
criticism of adulthood. The subject matter still revolves around a child's
perspective on life and a longing to return to the simplicity and wonder
of childhood.

However, the means of expressing this theme undergo some changes.


Lexically, imaginative expressions and cultural references to
Vietnamese childhood are often adapted or omitted to suit English-
speaking audiences, which may reduce the cultural specificity and

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emotional richness. Descriptive adjectives are retained, but some vivid


or culturally bound imagery may be toned down or generalized.

Syntactically, many complex Vietnamese sentence structures are


simplified in the translation. Rhetorical questions and parallel structures
are sometimes transformed into declarative or straightforward sentences
to improve readability. This simplification can reduce the sense of
spontaneity and childlike thought flow present in the original.

Textually, cohesive devices like repetition and the frequent use of


"and" (mirroring the child's voice in Vietnamese) are retained to some
extent, though often reduced. As a result, the translated text may feel
more polished and linear, but slightly less authentic to a child's
storytelling style.

4.3.2. Tenor

In the translated text, tenor which concerns the relationships between


participants, their roles, and attitudes is maintained in general tone but
affected by linguistic constraints.

The narrator still maintains a reflective, humorous, and nostalgic


voice. However, the rich interpersonal subtleties encoded in the
Vietnamese personal pronoun system (e.g., tớ–cậu, mày–tao, mình–cậu)
are flattened in English, where "I" and "you" are used regardless of social
context. As a result, some social and emotional nuances are inevitably
lost.

Nicknames such as “Hải còi,” “Tí sún,” and “Hạnh tì” are either
simplified or translated more neutrally, such as “Hai,” “Ti,” or omitted
descriptors like 'skinny” or “toothless.” These adaptations make the text
more accessible to foreign readers but lessen the sense of childhood
familiarity and teasing that defines the relationships in the original.

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Despite these losses, the English version still adopts a conversational


and inclusive tone, suitable for a general readership, and reflects the
narrator's effort to engage the reader in a personal, reflective journey.

4.3.3. Mode

The mode of the English translation remains largely consistent with


the source. The text continues to alternate between narration, inner
monologue, and dialogue. The story's written mode is preserved,
although the oral, spoken feel of the Vietnamese original is slightly
reduced due to the more structured nature of English syntax and
grammar.

The translation presents a clear, accessible prose style, favoring


fluency and coherence. While the casual tone is generally maintained,
the regional expressions and linguistic playfulness of the Vietnamese
version particularly elements reflecting the Southern dialect or informal
Vietnamese are often removed or domesticated, which results in a
slightly more neutral narrative voice.

4.3.4. Genre

The translated version maintains the genre of reflective, semi-


autobiographical fiction with elements of philosophical commentary.
The tone remains light-hearted and nostalgic, though at times it leans
more toward introspective storytelling than humorous critique due to
lexical and stylistic adaptation.

The blending of childlike imagination with adult reflection still


defines the genre, and the book continues to appeal to both young and
mature readers. However, the loss of cultural markers and interpersonal
subtleties may reduce the depth of the social commentary for readers
unfamiliar with Vietnamese culture.

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4.4. Function of translated text

The translated version continues to carry both ideational and


interpersonal metafunctions, though some expressions are altered due to
linguistic and cultural constraints.

In terms of the ideational function, the core message and thematic


exploration of childhood versus adulthood are retained. However, the
richness of lexical choices in the original is sometimes diluted. Cultural
references and idiomatic expressions are either omitted or replaced with
more familiar phrases in English, potentially weakening the text's
emotional and imaginative resonance.

The interpersonal function is preserved through the use of first and


second-person pronouns to establish a direct relationship between the
narrator and the reader. Yet, as previously noted, English lacks the
nuanced pronoun system of Vietnamese, which means some shifts in
tone, hierarchy, and intimacy are flattened. The translation strives for a
friendly, reflective tone, but some of the playfulness and irony that
characterize the original may be lessened in the target language.

Overall, the translation succeeds in conveying the central themes and


emotional tone of the original but inevitably compromises some of the
cultural richness and interpersonal depth due to the structural differences
between English and Vietnamese.

4.5. Comparison between original and translation: translation


errors based on field – tenor – mode analysis

4.5.1. Field

4.5.1.1. In terms of lexical means:

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The sentence structure in “Cho tôi xin một vé đi tuổi thơ” is strongly
lyrical and philosophical, often using long sentences with many
conjunctions and rhetorical questions to stimulate the reader's thoughts.
This stylistic choice reflects a continuous flow of thoughts and creates a
narrative feeling for the reader as if they were directly listening to the
story from the character. However, in the English translation, many of
these complex sentences have been shortened into shorter simple
sentences or compound sentences. Rhetorical questions have also often
been turned into declarative sentences. As a result, the stylistic richness
and inner tone of the original are reduced, giving the translation a more
straightforward tone with fewer emotional layers. We can take some
examples.

When it comes to lexical means, the translator faces the challenge of


maintaining the cultural nuances, emotional expressions, and stylistic
choices embedded in word usage. Different strategies are adopted to deal
with lexical choices, and this can affect the tone, cultural reference, and
interpersonal relationship between characters. Below are a few examples
illustrating how the translation deals with different aspects of lexical
means:

Example 1:

● Original: "Mẹ tôi luôn luôn quan tâm đến..."


● Translation: "My mother's major concern was..."

Here, the original verb phrase “quan tâm đến” (to care about) is
transformed into a noun phrase “major concern”. This shift from a verb
to a noun alters the tone slightly, making it more formal and less
emotionally expressive. While the message is still conveyed, the vivid
sense of ongoing care is softened in the English version.

Example 2:

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The shift in personal pronouns and terms of address shows the


character's development over time from the carefree intimacy of
childhood to the more polite, distant tone of adulthood. These changes
in Vietnamese are subtle yet culturally loaded.

● Example 2.1:
○ Original: "Mày sao thế? Mới bị ăn đòn à?"
○ Translation: "What's wrong? Did you get a beating?"

In this translation, the informal pronouns “mày” (you) and the


absence of subject in the Vietnamese sentence suggest a casual, close
relationship between children. However, in English, the intimacy is lost
as English does not have equivalent informal pronouns. The translation
is neutral and does not reflect the playful, childish tone.

● Example 2.2:
○ Original: "Ối trời ơi! Cậu muốn giết tôi hả, Mùi?"
○ Translation: "You want to kill me, don"t you, Mui?"

The Vietnamese “cậu – tôi” indicates a polite but familiar


relationship. The emotional exclamation “Ối trời ơi” is also omitted in
the translation, reducing the expressive intensity. Thus, the interpersonal
tone becomes more restrained in English.

Example 3:

● Original: “Niềm vui ngắn chẳng tày gang”


● Translation: “Happiness doesn"t last forever”

This Vietnamese idiom is rich in imagery, with “tày gang” being a


traditional unit of measurement (about a handspan). The English
translation substitutes it with a general and more abstract phrase.
Although semantically accurate, the poetic and cultural flavor of the
original is lost in translation.

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Example 4:

● Original: “Tí sún”, “Hải cò”


● Translation: “Ti”, “Hai”

Vietnamese childhood nicknames often contain descriptive elements


that reflect physical traits or affectionate teasing (e.g., 'sún” = toothless,
“cò” = stork). In translation, these are reduced to simple names, which
strips away the cultural context and sense of intimacy. The playful and
endearing nature of these nicknames disappears, flattening the emotional
and cultural depth.

In terms of lexical means, some of the differences between the


original Vietnamese and the English translation may stem from
linguistic incompatibilities – especially differences in phonetics and
wordplay. As Catford (1965) pointed out, translators often face linguistic
untranslatability, especially in translating figures of speech such as
alliteration, wordplay, or expressive proper names. Meanwhile, House
(1997) argues that these differences should not be considered translation
errors, but are inevitable results of the linguistic differences between the
two systems.

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One common example of meaning loss in translation is seen in how


expressive names are translated. In Vietnamese, the name “Tí Sún”
creates a clear image, sounds fun, and feels familiar and funny. But in
English, it might just become “Ti,” which loses all those special
meanings. This shows how things like imagery, hidden meanings, and
casual tone can disappear when proper names are translated.

To deal with this problem, researchers like Catford (1965), Fasheng


(2002), Jinfang (2004), and Cui (2013) suggest ways to make up for the
loss. These include adding footnotes, translator’s notes, or extra
explanations to help keep the cultural and language details that might be
missed in translation.

4.5.1.2. In terms of syntactic means:

The sentence structures in Cho tôi xin một vé đi tuổi thơ are often
long and complex, mirroring the narrator’s introspective voice and
emotional depth. These elaborate constructions help convey the nuances
of memory, as well as themes such as family and the journey of growing
up. In the English translation, however, many of these complex
sentences are simplified or split into shorter ones. While this can
improve readability for the target audience, it may also reduce the
original text’s rhetorical rhythm, emotional layering, and the sense of
intimacy in the narration. Some examples of this shift are as follows:

Example 1:

● Original:
“Nhưng hồi ba bằng tuổi tôi thì tôi đâu có mặt trên cõi đời để kiểm tra
những gì ông nói, bởi khi tôi bằng tuổi ba tôi bây giờ chắc chắn tôi cũng
sẽ lặp lại với con tôi những điều ông nói với tôi - chuyện xếp tập vở
trước khi đi ngủ và hàng đống những chuyện khác nữa, những chuyện
tôi không hề làm.”

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● Translation:
"I don"t know if this was true or not – I obviously wasn"t around at the
time – but now that I"m my father's age, I say the same thing to my
kids. I also boast about hundreds of other sensible things that I also
never actually did."

In the original Vietnamese sentence, the structure is complex, long,


and mainly formed as one compound-complex sentence, showing a
stream of thought. In the English version, the translator breaks the
sentence into multiple shorter sentences to improve clarity and
coherence. This shift in sentence type from complex to a series of
coordinated simple/compound sentences is a syntactic adjustment to suit
English norms.

Example 2:

● Original:
"Như để chứng minh suy đoán của thằng Hải cò, một chốc sau con Tủn
và con Tí sún lếch thếch nối nhau tới, mặt mày nhàu nhò như quần áo
vừa lấy vô từ dây phơi."

● Translation:
“As if on cue, Tun and Ti appeared a few minutes later. Their faces
were creased like linens just off a clothesline.”

Here, the original is a long compound sentence with embedded


descriptive clauses. The translation splits it into two concise sentences,
which helps deliver the meaning in a more natural way in English.
Again, this shows a syntactic transformation via change of sentence
type.

It can be seen that the shift from complex sentences in the source text
to simpler structures in the English translation contributes to a more
natural and fluent target text, making it more accessible for English-

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speaking readers. Newmark (1988) introduced sixteen translation


procedures, one of which is “transposition” or 'shift,” referring to
grammatical changes between the source and target languages. For
instance, the Vietnamese sentence 'sự bối rối của chú làm tôi rất ngạc
nhiên” is translated as “I was surprised at his embarrassment,” where the
subject 'sự giúp đỡ” becomes an object and the object "tôi" shifts to the
subject "I". In “Cho tôi xin một vé đi tuổi thơ”, such syntactic shifts
particularly from compound-complex sentences to shorter and simpler
ones are frequently employed to ensure the translation sounds idiomatic
in English. However, since Nguyễn Nhật Ánh deliberately uses lengthy
and reflective sentence structures to convey the nostalgic and
contemplative voice of the adult narrator looking back on childhood,
these syntactic changes need to be handled with care. Preserving the tone
and rhythm of the original while ensuring clarity in the target language
is essential for maintaining the stylistic essence of the source text.

4.5.1.3. In terms of textual means:

One important language feature that affects translation quality is the


use of personal pronouns. Vietnamese and English use these words very
differently. In Vietnamese, pronouns do more than just show who is
speaking. They also show the relationship between people — such as
age, gender, respect, closeness, and feelings. For example, instead of
saying “I” or “you,” Vietnamese people often use family terms like anh,
em, or chị, or poetic words like chàng and nàng to show love or respect.
These words depend a lot on the situation and culture.

English, on the other hand, uses a small set of pronouns like I, you,
he, she, and they. These words don’t show age, status, or respect clearly.
You need to understand the situation to know that. As Pham (2020) says,
this big difference makes translation hard. It is especially hard to keep

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the feelings and respect that Vietnamese pronouns carry, because


English does not have words for them.

In the book Cho tôi xin một vé đi tuổi thơ, the author often changes
pronouns to show the narrator growing up from a child to an adult. These
changes also make the story funny and personal. They help the story feel
like someone is talking to you. But when translated into English, these
special pronouns are hard to keep. This can make the story lose some of
its feelings and meaning.

For example:

● Original: “Có phải khi yêu nhau chàng vẫn thích dẫn nàng đi
ăn ở ngoài?”

● Translation: “A boy in love likes to take his girl out to eat.”

In the Vietnamese version, the poetic words chàng and nàng are
not just normal pronouns. They come from old-style writing and help
create a romantic and nostalgic feeling. The sentence is also a question,
which makes it sound more soft and thoughtful. These choices make the
writing more emotional and beautiful.

But in the English version, the sentence is more direct. It uses


normal words like a boy and his girl, and the question becomes a simple
statement. Even though the meaning is still there, the feelings and
writing style are not as rich. The special cultural and poetic feeling of
chàng and nàng is lost.

This shows that the way pronouns and writing style work in
Vietnamese and English is very different. If the translator does not
carefully think about culture and emotion, the English version may lose
the deep feelings and special style of the original.

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4.5.2. Tenor

Another important factor that affects translation quality is tenor—the


social relationship between people in a conversation. Tenor affects how
formal or emotional the language is, and how people see each other. In
Vietnamese, there is a very detailed system of pronouns and ways of
addressing others. These allow speakers to show age, closeness, respect,
or affection in very subtle ways. This is especially important in literary
texts like Cho tôi xin một vé đi tuổi thơ, where a big part of the book’s
beauty comes from how it gently shows childhood friendships and
feelings.

In the original story, the narrator often sounds playful, nostalgic, and
funny. The use of informal pronouns and cute nicknames—like Hải cò,
Tí sún, and Dung điệu—creates a warm and friendly mood. These names
show teasing and closeness among friends, reminding readers of shared
childhood memories. Pronoun pairs like tớ–cậu, mày–tao, or mình–cậu
also show different kinds of relationships, such as being close, equal, or
even having a little distance.

But these details are hard to fully translate into English. English has
fewer pronouns and does not carry the same cultural meanings.
Nicknames often get simplified—Hải cò may just become Hai—and
personal pronouns are usually reduced to just “I” and “you.” Because of
this, the translation may lose some of the emotional richness and unique
voices of the characters.

Therefore, assessing how the English version compensates for or


adapts these shifts in tenor through lexical choice, narrative tone, or
other stylistic strategies is essential in evaluating the translation's overall
quality and its faithfulness to the interpersonal dynamics of the source
text.

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4.5.3. Mode

The mode refers to the channel and style of communication, and in


“Cho tôi xin một vé đi tuổi thơ”, the original Vietnamese version exhibits
a flexible, speech-like mode, blending narration, dialogue, and inner
monologue with clear signs of oral storytelling. The tone often mimics
that of a child talking informally, complete with regional inflections,
slang, and a colloquial rhythm. This oral flavor plays a key role in
constructing the narrator's playful and familiar voice.

For instance:

● Original: “Tao là tao chúa ghét mấy đứa con nít thông minh,
tức là mấy đứa học bài nhoáng một cái đã thuộc vanh vách!
Hừm, làm như hay lắm!”
● Translation: “I hate intelligent children who can memorize
their lessons in the blink of an eye.”

This sentence is strongly conversational in tone, using repetitive


phrasing ("tao là tao chúa ghét..."), informal pronouns (tao, mấy đứa),
and colloquial expressions like "nhoáng một cái", "thuộc vanh vách",
and the interjection "Hừm". These features create a lively, spontaneous
voice that closely mimics oral storytelling, enhancing the reader's
intimacy with the narrator.

Although the basic meaning is retained, the emotive and oral nuances
are diminished. The casual Vietnamese elements like “chúa ghét” (a
hyperbolic way to say “really hate”), the interjection “Hừm”, and the
childish exaggeration “làm như hay lắm” are omitted or flattened.
English syntactic norms and the absence of direct equivalents for these
expressions lead to a more polished and neutral tone, creating a distance
from the original's playful and impulsive voice.

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The translated mode shifts from informal spoken narrative to literary


storytelling. While still accessible, the childlike spontaneity and regional
character of the original are softened, potentially affecting the reader's
perception of the narrator as a mischievous, opinionated child.

4.5.4. Genre

Both the source text and its English translation belong to the same
literary genre: semi-autobiographical reflective fiction. However, the
way this genre is expressed is inevitably shaped by cultural and linguistic
factors. In the original Vietnamese version, the narrative weaves
together humor, satire, nostalgia, and philosophical musings, creating a
multi-layered reflection on childhood and society. This combination
allows the novel to resonate deeply with a broad Vietnamese readership
both children and adults through shared cultural references and oral
storytelling traditions. In contrast, the English translation retains the
reflective tone but places more emphasis on introspection than social
commentary. The absence of informal, culturally specific elements such
as dialectal expressions or traditional forms of address makes the
translated version feel more like a general memoir of childhood than a
socially embedded narrative. As a result, while the genre remains intact,
the translation may shift the reader's perception toward a more universal
and less culturally grounded experience.

4.5.5. Function

The ideational and interpersonal metafunctions of the source text are


preserved in essence, though not always in execution.

Ideational Function

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The original Vietnamese employs vivid, culturally rich metaphors and


expressive, whimsical reasoning to reflect a child-like worldview while
subtly critiquing adult rationality. For instance:

● Original: "Đang tắm mình trong bầu không khí lãng mạn của
những ngày tháng yêu đương thì cái ăn rõ ràng chỉ là chuyện thứ yếu,
thậm chí còn bị xếp vào phạm trù phàm tục. Yêu dứt khoát phải thơ
mộng hơn ăn, như trái tim nhất định phải cao quý hơn dạ dày."
● Translation: "Eating is just obviously a low priority for
lovers. The heart is nobler than the stomach, no?"

While the translation retains the basic conceptual contrast between


love and food, it simplifies the imagery and loses the poetic, almost
humorous exaggeration that makes the original line both playful and
critical. The philosophical tone evoking romanticism vs. materialism
through metaphor is flattened in English.

Interpersonal Function

The original also establishes emotional closeness and dynamic


positioning between narrator and reader through nuanced tone and rich
pronoun usage. Vietnamese relational pronouns such as mình, tao, mày,
and others help situate characters within a web of intimacy, age, and
social context. This system, deeply rooted in Vietnamese culture, adds
warmth and immediacy.

In contrast, the English translation does not have a rich pronoun


system like Vietnamese. Instead, it uses tone and casual word choices to
show a friendly and familiar style. This helps keep the conversation
light, but it cannot fully show the many different kinds of relationships
and closeness found in the original.

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The translation still shares the main ideas well. However, some of the
emotions and cultural meanings are lost. The deep feelings and warm
relationships in the original text are not as strong in English.

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CHAPTER 5. CONCLUSION & FUTURE RESEARCH

This study has examined the English translation “Ticket to


Childhood” through the lens of Juliane House's (1997) Translation
Quality Assessment (TQA) model, with a particular focus on functional
equivalence and the treatment of culturally specific items. By comparing
the Source Text (ST) and Target Text (TT), this research aimed to assess
the extent to which the translation maintains the original text's function,
accurately renders cultural terms and Vietnamese proper names, and
adheres to the parameters outlined in House's framework.

In response to the first research question, the analysis reveals that the
translation achieves a fair degree of functional equivalence, particularly
in terms of preserving the ideational content and textual function. The
genre of a reflective, semi-autobiographical narrative is maintained, and
the TT demonstrates a consistent effort to communicate the author’s core
message. However, certain shifts, especially in tenor (e.g., changes in
interpersonal tone, simplification of rhetorical questions, and
adjustments in narrative stance) suggest that some pragmatic and
interpersonal functions have been diluted. These deviations reflect the
translator’s application of a cultural filter to make the text more
accessible to the target readership, resulting in a covert translation as
classified by House.

Regarding the second research question, it was found that many


cultural terms and Vietnamese proper names were either generalized or
omitted, potentially reducing the cultural richness of the original. While
this strategy facilitates comprehension for English readers, it may also
lead to a loss of cultural specificity and local color, particularly where
names carry symbolic or humorous meaning in Vietnamese. The
absence of explanatory notes or footnotes further contributes to this
cultural flattening.

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As for the third question, although the TT conveys the primary


communicative intent of the ST encouraging reflection on childhood and
critiquing adult perspectives it does not consistently replicate the
original's satirical tone, emotional warmth, and localized humor. This
means that while the ideational function is largely retained, the
interpersonal function is partially compromised. The translation thus
performs the same overall textual function, but with a different effect on
the target audience.

Theoretically, this study contributes to the application of House's


TQA model to contemporary literary translation, highlighting the
strengths and limitations of the model when applied to texts rich in
cultural references and personal voice. Practically, the research
underscores the importance of cultural sensitivity and audience
awareness in translation decisions, particularly when handling children's
literature and works embedded in a specific socio-cultural context.

However, the study is not without limitations. The analysis focused


primarily on selected excerpts and specific features such as register and
cultural terms, without conducting a full systemic-functional linguistic
breakdown. Moreover, the assessment of reader reception was based on
textual inference rather than empirical data.

Future research may benefit from expanding the corpus to include


multiple translations of Vietnamese literature or applying reader-
response methods to evaluate how target audiences perceive translated
cultural content. Comparative studies between overt and covert
translations could also offer further insight into the impact of translation
strategies on cross-cultural understanding.

In conclusion, “Ticket to Childhood” represents a largely successful,


though culturally moderated, attempt to bring Nguyễn Nhật Ánh's vision
to a global audience. While the translation exhibits functional adequacy

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under House's model, its partial cultural domestication raises important


questions about the balance between fidelity and readability in literary
translation.

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