Luận án A cognitive study of metaphors based on human senses in English and Vietnamese

MINISTRY OF EDUCATION AND TRAINING THE UNIVERSITY OF DANANG TRẦN THỊ THÙY OANH A COGNITIVE STUDY OF METAPHORS BASED ON HUMAN SENSES IN ENGLISH AND VIETNAMESE DOCTORAL THESIS IN SOCIAL SCIENCES AND HUMANITIES Danang - 2018 MINISTRY OF EDUCATION AND TRAINING THE UNIVERSITY OF DANANG TRẦN THỊ THÙY OANH A COGNITIVE STUDY OF METAPHORS BASED ON HUMAN SENSES IN ENGLISH AND VIETNAMESE Major: English Linguistics Code: 62.22.02.01 DOCTORAL THESIS IN SOCIAL SCIENCES AND HUM

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ANITIES Supervisors: 1. Dr. Trần Quang Hải 2. Prof. Dr. Nguyễn Văn Hiệp Danang - 2018 i STATEMENT OF AUTHORSHIP Except where reference is made in the text of the thesis, this thesis contains no material published elsewhere or extracted in whole or in part from a thesis by which I have qualified for or been awarded another degree or diploma. This thesis has not been submitted for the award of any degree or diploma in any other tertiary institution. Danang, January 2018 Tran Thi Thuy Oanh ii ABSTRACT The thesis studies English and Vietnamese conceptual metaphors based on the five basic human senses namely vision, hearing, touch, smell and taste. The study uses the descriptive, analytic, synthetic, qualitative, quantitative, comparative, contrastive, deductive and inductive methods. The research finds out 19 conceptual metaphors from setting up the mappings or sets of correspondences between the source domains and target domains for each sense with the explanation in each situation. At the same time, this work points out the similarities and differences between the two languages. Most of conceptual metaphors can be found in both languages, but some are unique to Vietnamese or English. The study also examines source domains sharing target domains. Moreover, the “cross-expressions” between human senses in expressing language are also clarified. The study suggests the implications for teaching, learning and translating English in the view of cognitive linguistics in general and conceptual metaphor theory in particular. . iii LIST OF ABBREVIATIONS CD conceptual domain CL Cognitive Linguistics CM conceptual metaphor CMs conceptual metaphors CMT conceptual metaphor theory HSs human senses ME metaphorical expression SD source domain OALD The Oxford Advanced Learning Dictionary TD target domain VD The Vietnamese Dictionary iv TABLE OF CONTENTS STATEMENT OF AUTHORSHIP ............................................................................ i ABSTRACT .............................................................................................................. ii LIST OF ABBREVIATIONS .................................................................................. iii TABLE OF CONTENTS ......................................................................................... iv LIST OF TABLES.viii LIST OF FIGURES ................................................................................................... x CHAPTER 1. INTRODUCTION ............................................................................. 1 1.1. Rationale ....................................................................................................................... 1 1.2. Aims of the Study ......................................................................................................... 3 1.3. Objectives of the Study ................................................................................................. 4 1.4. Research Questions ....................................................................................................... 4 1.5. Scope of the Study ........................................................................................................ 4 1.6. Significance of the Study .............................................................................................. 6 1.7. Organization of the Study ............................................................................................. 6 CHAPTER 2. LITERATURE REVIEW .................................................................. 8 2.1. Cognitive Linguistics .................................................................................................... 8 2.1.1. The concepts of Cognitive Linguistics ................................................................... 8 2.1.2. Main tenets in Cognitive Linguistics .................................................................... 10 2.2. Conceptual Metaphor .................................................................................................. 11 2.2.1. The views of Conceptual Metaphor ...................................................................... 11 2.2.2. Related concepts ................................................................................................... 15 2.2.2.1. Conceptual domain .......................................................................................... 15 2.2.2.2. Source domain ................................................................................................. 16 2.2.2.3. Target domain .................................................................................................. 16 2.2.2.4. Mappings.......................................................................................................... 16 2.2.2.5. Conceptualization ............................................................................................ 18 2.3. Human senses .............................................................................................................. 19 2.3.1. The concepts of human senses ............................................................................... 19 2.3.2. Vision ..................................................................................................................... 20 v 2.3.3. Hearing .................................................................................................................. 21 2.3.4. Touch ..................................................................................................................... 22 2.3.5. Smell ...................................................................................................................... 23 2.3.6. Taste ....................................................................................................................... 23 2.4. Metaphor in literature ................................................................................................. 24 2.5. Related research .......................................................................................................... 25 2.5.1. A general review .................................................................................................... 25 2.5.2. The typical related works in English ..................................................................... 28 2.5.2.1. The work of Lakoff and Johnson...................................................................... 28 2.5.2.2. The work of Sweetser ....................................................................................... 29 2.5.2.3. The work of Ibarretxe-Antuđano ...................................................................... 30 2.5.2.4. The work of Kưvecses ...................................................................................... 31 2.5.3. The typical related works in Vietnamese ................................................................. 33 CHAPTER 3. METHODOLOGY .......................................................................... 36 3.1. Data collection and analysis ....................................................................................... 36 3.1.1. Data collection ....................................................................................................... 36 3.1.2. Data analysis .......................................................................................................... 41 3.2. Metaphor identification...43 3.3. Methods of the Study .................................................................................................. 45 3.3.1. Descriptive method ................................................................................................ 45 3.3.2. Analytic and synthetic methods ............................................................................. 45 3.3.3. Qualitative and quantitative methods .................................................................... 46 3.3.4. Comparative and contrastive methods ................................................................... 46 3.3.5. Deductive and inductive methods .......................................................................... 46 3.4. Summary ..................................................................................................................... 47 CHAPTER 4. CONCEPTUAL METAPHORS BASED ON HUMAN SENSES IN ENGLISH ................................................................................................................ 49 4.1. Conceptual metaphors based on vision ....................................................................... 49 4.1.1. AN INTELLECTUAL ACTIVITY IS VISION .................................................... 49 4.1.2. HUMAN EMOTION IS VISION .......................................................................... 53 4.1.3. MEETING IS VISION .......................................................................................... 56 4.1.4. JUDGMENT IS VISION ....................................................................................... 57 vi 4.2. Conceptual metaphors based on hearing .................................................................... 59 4.2.1. AN INTELLECTUAL ACTIVITY IS HEARING ............................................... 59 4.2.2. GETTING INFORMATION IS HEARING ......................................................... 62 4.2.3. HUMAN EMOTION IS HEARING ..................................................................... 63 4.3. Conceptual metaphors based on touch........................................................................ 65 4.3.1. AN INTELLECTUAL ACTIVITY IS TOUCH ................................................... 65 4.3.2. HUMAN EMOTION IS TOUCH ......................................................................... 67 4.4. Conceptual metaphors based on smell ........................................................................ 69 4.4.1. AN INTELLECTUAL ACTIVITY IS SMELL .................................................... 69 4.4.2. INTEREST IS SMELL .......................................................................................... 71 4.4.3. EXPERIENCE IS SMELL .................................................................................... 73 4.5. Conceptual metaphors based on taste ......................................................................... 74 4.5.1. LANGUAGE IS TASTE ....................................................................................... 75 4.5.2. EXPERIENCE IS TASTE ..................................................................................... 75 4.6. Summary ..................................................................................................................... 76 CHAPTER 5. CONCEPTUAL METAPHORS BASED ON HUMAN SENSES IN VIETNAMESE ....................................................................................................... 79 5.1. Conceptual metaphors based on vision ....................................................................... 79 5.1.1. AN INTELLECTUAL ACTIVITY IS VISION .................................................... 80 5.1.2. HUMAN EMOTION IS VISION .......................................................................... 86 5.1.3. MEETING IS VISION .......................................................................................... 91 5.1.4. JUDGMENT IS VISION ....................................................................................... 92 5.2. Conceptual metaphors based on hearing .................................................................... 94 5.2.1. AN INTELLECTUAL ACTIVITY IS HEARING ............................................... 95 5.2.2. GETTING INFORMATION IS HEARING ......................................................... 97 5.2.3. HUMAN EMOTION IS HEARING ..................................................................... 99 5.3. Conceptual metaphors based on touch...................................................................... 101 5.3.1. AN INTELLECTUAL ACTIVITY IS TOUCH ................................................. 101 5.3.2. HUMAN EMOTION IS TOUCH ....................................................................... 104 5.4. Conceptual metaphors based on smell ...................................................................... 105 5.4.1. AN INTELLECTUAL ACTIVITY IS SMELL .................................................. 105 5.4.2. EXPERIENCE IS SMELL .................................................................................. 106 vii 5.4.3. HUMAN EMOTION IS SMELL ........................................................................ 107 5.4.4. JUDGMENT IS SMELL ..................................................................................... 108 5.5. Conceptual metaphors based on taste ....................................................................... 109 5.5.1. LANGUAGE IS TASTE ..................................................................................... 110 5.5.2. EXPERIENCE IS TASTE ................................................................................... 111 5.5.3. HUMAN EMOTION IS TASTE ......................................................................... 111 5.5.4. THING IS TASTE ............................................................................................... 113 5.5.5. HUMAN IS TASTE ............................................................................................ 113 5.6. Summary ................................................................................................................... 115 CHAPTER 6. A CROSS-LINGUISTIC ANALYSIS .......................................... 118 6.1. Comparison and contrast between conceptual metaphors based on human senses in English and Vietnamese. .................................................................................................. 118 6.1.1. Vision ................................................................................................................... 118 6.1.2. Hearing ................................................................................................................ 120 6.1.3. Touch ................................................................................................................... 121 6.1.4. Smell .................................................................................................................... 122 6.1.5. Taste ..................................................................................................................... 123 6.1.6. “Cross-expressions” between human senses ....................................................... 124 6.1.7. Summary .............................................................................................................. 126 6.2. Source domains sharing target domains.....128 6.2.1. Vision, Hearing, Touch, Smell - An Intellectual Activity ................................... 128 6.2.2. Vision, Hearing, Touch, Smell, Taste - Human Emotion ................................... 131 6.2.3. Vision, Hearing - Judgment ................................................................................. 133 6.2.4. Summary .............................................................................................................. 134 6.3. Chapter summary ...................................................................................................... 134 CHAPTER 7. CONCLUSION .............................................................................. 141 7.1. Concluding remarks .................................................................................................. 141 7.2. Implications from the results .................................................................................... 143 7.3. Limitations of the study and suggestions for further research .................................. 144 REFERENCES ............................................................................................................ SOURCES OF DATA ................................................................................................. viii LIST OF TABLES Table 1.1: The entities and sensory activities of the five basic HSs in English and Vietnamese ........................................................................................................................... 5 Table 2.1: Mappings for the LIFE IS A JOURNEY metaphor ......................................... 17 Table 2.2: Extremities of the five basic human senses ...................................................... 19 Table 4.1: Mappings for the AN INTELLECTUAL ACTIVITY IS VISION conceptual metaphor ............................................................................................................................ 49 Table 4.2: Mappings for the HUMAN EMOTION IS VISION conceptual metaphor ..... 54 Table 4.3: Mappings for the MEETING IS VISION conceptual metaphor ...................... 56 Table 4.4: Mappings for the JUDGMENT IS VISION conceptual metaphor .................. 57 Table 4.5: Distribution of CMs based on vision in English .............................................. 58 Table 4.6: Mappings for the AN INTELLECTUAL ACTIVITY IS HEARING conceptual metaphor..60 Table 4.7: Mappings for the GETTING INFORMATION IS HEARING conceptual metaphor ............................................................................................................................ 62 Table 4.8: Mappings for the HUMAN EMOTION IS HEARING conceptual metaphor . 63 Table 4.9: Distribution of CMs based on hearing in English ............................................ 64 Table 4.10: Mappings for the AN INTELLECTUAL ACTIVITY IS TOUCH conceptual metaphor ............................................................................................................................ 65 Table 4.11: Mapping for the HUMAN EMOTION IS TOUCH conceptual metaphor ..... 68 Table 4.12: Distribution of CMs based on touch in English ............................................. 69 Table 4.13: Mappings for the AN INTELLECTUAL ACTIVITY IS SMELL conceptual metaphor ............................................................................................................................ 70 Table 4.14: Mapping for the INTEREST IS SMELL conceptual metaphor ..................... 72 Table 4.15: Mapping for the EXPERIENCE IS SMELL conceptual metaphor ............... 73 Table 4.16: Distribution of CMs based on smell in English .............................................. 74 Table 4.17: Mappings for the LANGUAGE IS TASTE conceptual metaphor ................. 75 Table 4.18: Mappings for the EXPERIENCE IS TASTE conceptual metaphor ............... 76 Table 4.19: Distribution of CMs based on taste in English ............................................... 76 Table 4.20: Distribution of CMs based on HSs in English ................................................ 77 ix Table 5.1: Distribution of CMs based on vision in Vietnamese ........................................ 94 Table 5.2: Distribution of CMs based on hearing in Vietnamese .................................... 100 Table 5.3: Distribution of conceptual metaphors based on touch in Vietnamese ........... 104 Table 5.4: Mapping for the HUMAN EMOTION IS SMELL conceptual metaphor ..... 107 Table 5.5: Mapping for the JUDGMENT IS SMELL conceptual metaphor .................. 108 Table 5.6: Distribution of CMs based on smell in Vietnamese ....................................... 109 Table 5.7: Mapping for the HUMAN EMOTION IS TASTE conceptual metaphor ...... 112 Table 5.8: Mapping for the THING IS TASTE conceptual metaphor ............................ 113 Table 5.9: Mapping for the HUMAN IS TASTE conceptual metaphor.......................... 113 Table 5.10: Distribution of CMs based on taste in Vietnamese ...................................... 114 Table 5.11: Distribution of CMs based on HSs in Vietnamese ....................................... 115 Table 6.1: Comparison and contrast between CMs based on vision in English and Vietnamese ....................................................................................................................... 119 Table 6.2: Comparison and contrast between CMs based on hearing in English and Vietnamese ....................................................................................................................... 120 Table 6.3: Comparison and contrast between CMs based on touch in English and Vietnamese ....................................................................................................................... 121 Table 6.4: Comparison and contrast between CMs based on smell in English and Vietnamese ....................................................................................................................... 122 Table 6.5: Comparison and contrast between CMs based on taste in English and Vietnamese ....................................................................................................................... 123 Table 6.6: Comparison and contrast between CMs based on HSs in English and Vietnamese...127 Table 6.7: Source domains share the target domain AN INTELLECTUAL ACTIVITY .......................................................................................................................................... 130 Table 6.8: Source domains share the target domain HUMAN EMOTION .................... 133 Table 6.9: Source domains share the target domain JUDGMENT ................................. 134 Table 6.10: Comparison and contrast between CM based on HSs in English and Vietnamese ....................................................................................................................... 137 x LIST OF FIGURES Figure 2.1: The structure of perception metaphors ........................................................... 30 Figure 2.2: A new model for perception verbs ..................................................................... 31 Figure 3.1: Accounting the expressions by the function of the excel software ................ 40 Figure 3.2: The folder of expressions based on vision ..................................................... 41 Figure 3.3: Extract of the OALD for the word ‘see’ ........................................................ 41 Figure 3.4: Extract of the VD for the word ‘ngoṭ ngào’ .................................................... 62 Figure 6.1: “Cross-expressions” between human senses in Vietnamese ........................ 126 Figure 6.2: Source domains share the target domain AN INTELLECTUAL ACTIVITY .......................................................................................................................................... 128 Figure 6.3: Source domains share the target domain HUMAN EMOTION .................. 131 Figure 6.4: Source domains share the target domain JUDGMENT ............................... 133 Figure 6.5: Distribution of ME based on HSs in English ............................................... 135 Figure 6.6: Distribution of ME based on HSs in Vietnamese ........................................ 135 Figure 6.7: Distribution of CM based on HSs in English and Vietnamese .................... 136 Figure 6.8: Distribution of similarity and difference of CMs of HSs in English and Vietnamese ...................................................................................................................... 139 1 CHAPTER 1 INTRODUCTION 1.1. Rationale Cognitive linguistics (CL) originally emerged in the early 1970s attracting many linguists’ interests such as G. Lakoff, M. Johnson, R. Langacker, L. Talmy, W. Chafe, R. Jackendoff, G. Fauconnier, Ch. Fillmore, U. Neisser, E. Rosch, A. Wierzbicka, Yu. Stepanov, N. Aruchiunova, V. Demiankov, E. Kubriakova, V. Maxlova, A. Parchin, I. Protopopova, E. Iakovleva, etc. According to the cognitive approach, linguistic knowledge is considered cognition and thinking. Human beings use knowledge and experience of things and events they have and know well to transfer to those other ones in so unfamiliar or abstract concepts, especially in the case of metaphors. Notably, in 1980, George Lakoff and Mark Johnson first extensively explored this theory by atypical work Metaphors We Live By (revised in 2003) which has become popular with linguistic works around the world in recent years. It is said that the human conceptual system is “fundamentally metaphorical in nature” (Lakoff & Johnson, 1980, p. 3). In the view of traditional concepts, metaphor is a linguistic phenomenon with artistic and rhetoric purpose, based the similarities between two objects, used by talented people or for special effects (Kưvecses, 2010). However, it has been challenged deeply in the light of CL. According to Lakoff and Johnson (1980), “metaphor is a property of concepts, and not of words; the function of metaphor is to better understand certain concepts, and not just some artistic or esthetic purpose” (cited in Kưvecses, 2010, p. 10). Lakoff and Johnson (1980) also defined that “metaphor is often not based on similarity; metaphor is used effortlessly in everyday life by ordinary people, not just by special talented people; and metaphor, far from being a superfluous though pleasing linguistic ornament, is an inevitable process of human thought and reasoning” (cited by Kưvecses, 2010, p. 10). In fact, 2 “metaphor is defined as understanding one conceptual domain in terms of another conceptual domain” and called “conceptual metaphor” (Kưvecses, 2010, p. 4). Our conceptual system is highly metaphorical, “the way we think, what we experience, and what we do everyday is very much a matter of metaphor” (Lakoff & Johnson, 1980, p. 4). In other words, in the view of CL, “metaphor is fundamental to language and cognition in that it represents and records how people conceptualize their experiences, attitudes and practices” (Lakoff & Johnson, 1980, p. 3). Lakoff (1987) shows that metaphor is conceptual in nature, and its mappings are regarded as conventional mental mechanisms and experientially motivated. It allows us to “understand ourselves and our world in ways that no other modes of thought can” (Lakoff & Turner, 1989, p. xi). Our own bodies are used as an ideal reference point to describe or refer to something related. Kưvecses (2002) defines that “although our thoughts have to be done by systematic metaphorical mapping, a common target domain is the human mind and “being such an abstract concept, it is not surprising we employ metaphors for better comprehension” (p. 21). Generally speaking, there have been many cognitive linguistic researches on metaphors based on human body parts in the world. This is understandable; because human body parts are very specific, very close to our lives and our understanding. We take ourselves to imagine the world, reflect the development path of our awareness by expressing ideas from concrete to abstract. By talking, working, and getting feelings with the changes we experience, we receive knowledge of parts of our body. According to Kưvecses (2010), “the human body is an ideal source domain, since, for us, it is clearly delineated and (we believe) we know it well. This does not mean that we make use of all aspects of this domain in metaphorically understanding abstract targets” (p. 18). Thus, many researches focus on conceptual metaphors based on body parts such as the head, hands, stomach or conceptual metaphors of emotion, love and so on. However, there are still not any works of conceptual metaphors based on human senses in detail, especially in English compared and contrasted with Vietnamese. Actually, every 3 day we have to look with our eyes, hear with our ears, smell through our nose, taste with our tongue, and touch things around us by hand. Through the five basic human senses of vision, hearing, touch, smell and taste, we experience the world surrounding us and express what we get with language. For instance, the SEEING IS TOUCHING metaphor, one of examples described in Kưvecses’s (2010) work, is based on the set of correspondences like ‘take someone’s eyes off of someone’, ‘avoiding eye contact’, ‘undressing someone with one’s eyes’. Obviously, these expressions include a context. For example, the expression ‘take someone’s eyes off of someone’ in “He couldn’t take his eyes off of her” is expressed at work. It generates the social practice. Thus, according to Kưvecses’s (2010), this is “a conceptual metaphor “real” in everyday social practice” (p. 71). Actually, using human senses for expressing language is extremely various that can cause the misunderstanding for language users, especially people using English as a second language in Vietnam. Consequently, we would like to conduct a study entitled “A cognitive study of metaphors based on human senses in English and Vietnamese” by doing a comparative and contrastive analysis with the aim of being an essential study and significance in linguistics. 1.2. Aims of the Study This thesis aims to extend the later semantic concepts of conceptual metaphors drawing from cognitive linguistic concepts that are relevant and viable to the study through tracking its history and development. Specifically, by analysing the metaphorical expressions based on the five basic human senses in English and Vietnamese, this thesis will fin...s of which thought patterns operate in reflecting the world in human language associated with the flexible and dynamic nature of human thought. Consequently, it may embrace many linguistic metaphors as well as attributes of the SD and TD. In short, in this part we introduce some related definitions on CM to support a background for the thesis. The theoretical basis presented above on CM is used to describe and analyse CMs based on the five basic human senses in English and Vietnamese in chapter four, five and six. The concepts of the human senses are then presented to approach the exact objectives. 19 2.3. Human senses 2.3.1. The concepts of human senses Although it can be said that humans have more than five senses, as we presented in the scope of the study, we choose the five basic human senses namely vision, hearing, touch, smell and taste. The other senses may be suggested for the further research in chapter seven. Therefore, this part presents the concepts of these five senses. Actually, these five classical senses are considered as channels providing information about the external world. It can be said that they help human beings to perceive surrounding environment. According to Sekuler and Blake (1994), the senses collect information and transfer to the brain and then the human perception perceives descriptions of objects and events. According to Mihaela (2016, p. 24) “the existence of perception provided that at least three main elements are present”. This author emphazied that they are “the perceiver or perceptor as the person involved in this process, who carries out the perception, the object - animate or inanimate - being perceived and the act of perception itself” (p. 24). This author also cited Martin Joos’ idea (1968) that “the perceptual phenomenon can be represented by an axis of visual, auditory, olfactory, gustatory or tactile perception, defined by two extremities: the perceiver and perceived object” and illustrated a following form imagined by Martin Joos (1968) (cited in Mihaela, 2016, p. 24): Table 2.2: Extremities of the five basic human senses (Mihaela, 2016, p. 24) Perceiver Perceived object The eye of the beholder object seen The ear of the listener object heard The nose of the perceiver object smelt The tongue of the perceiver object tasted The hands of the perceiver object touched In 1994, Sekuler and Blake envisaged the phenomenon of perception as a biological process wherein the brain obtains descriptions of objects and events, using information collected by the senses. Classen (1993) also defines them as “different modalities for conveying information about the physical world” (p. 4). In 20 fact, each sense has a different way to provide information on that world and “each sensory modality is connected to a specific receptor organ transforming stimuli into a subjective experience” (Mihaela, 2016, p. 25). She also emphasized that “the differentiating properties are: the nature of the stimulus, the distance and contact between the stimulus and perceiver, the location and contact between the duration of perception, the identification and modification of the stimulus by the perceiver” (p. 25). According to Ibarretxe-Antunano (1999), “Biologically, each sense has its own receptors – eyes, ears, skin, nose, mouth – and its own pathways to the brain. Each sense receptor responds to different stimuli: light, sound waves, mechanical disturbances, volatile substances, and soluble substances” (p. 132). The concepts of each sense will be then presented and it seems logical to start with vision. 2.3.2. Vision The Oxford Advanced Learning Dictionary (OALD) states that “vision is the faculty or state of being able to see, is the ability to think about or plan the future with imagination or wisdom, is an experience of seeing someone or something in a dream or trance”. “It is considered to be a distant sense in that human beings do not need to have a direct contact with what their eyes see” (Mihaela, 2016, p. 25). According to Ibarretxe-Antuđano (1999), vision is “by far the most studied sense of the five” (p. 55). In 2008, Allan also declared that it is the most significant sense with the evidence of more 75% of her research’s entries about vision. In fact, Sweetser (1991) observes that vision is associated with “the objective and intellectual mental domain” (p. 37). Classen (1993) defines them as “different modalities for conveying information about the physical world” (p. 4). However, they do that in different ways. Ibarretxe-Antuđano (1999) expresses “culturally, human beings rely more on some senses than on others” (p. 210). She also concluded that vision is the most reliable in Western societies. However, the senses of the world are considered to be made from the senses of smell, hearing and touch in Western history, and other contemporary cultures. “It gives us more information than any of the other senses” (Sweetser, 1986, p. 531). In other words, visual 21 perception is the process of registering visual sensory stimuli as meaningful experience. It can be said that public knowledge may be provided through vision sense as what Sweetser (1986) suggests that vision has a connection to intellectual activity because of three reasons: “(i) Vision is our primary source of objective data about the world. (ii) The focusing ability of vision that enables us to pick up one stimulus at will from many. (iii) Vision is identical for different people who can take the same viewpoint” (p. 531). According to Mihaela (2016), in the process of visual perception, eyes are the main component for both capturing the light and generating messages. The light is the prototypical stimulus which reflects the spatial configuration of the perceived object in form, dimension, orientation, colour and distance. Although vision is a distant sense, “the light must come into contact with the eyes in order to be transformed into neural elements and make this process possible” (Mihaela, 2016, p. 25). 2.3.3. Hearing According to the OALD, hearing is “the faculty of perceiving sounds, is an opportunity to state one's case”. Hearing has a process of auditory perception in which ears capture the sound waves representing the hearing’s prototypical stimuli and coming inside our ears”. Similarly, to visual perception, “the sounds are registered in the neocortex, where the main part of the intellectual skills and the language faculty are situated” (Mihaela, 2016, p. 26). According to Ibarretxe- Antunano (1999, p. 210), “these sound waves are then transformed into neural events by the hair cells and analysed by neurones specialised for frequency and sound location”. This author also emphazied that “hearing is the sensory modality denoting linguistic communication in which two elements are involved namely the hearer and the speaker. The presence of the speaker be it a person or an object is always compulsory” (p. 64). In fact, “in hearing, as in vision, it is possible to locate the source and direction of stimulus, where sounds are coming from, even if the object that emits 22 the sound is far away from us, and even if we cannot perceive with our eyes, we can still hear it” (Ibarretxe-Antunano, 1999, p. 210). In Mihaela’s work in 2016, she stated interestingly that in hearing has a limitation of the ability to manipulate as vision because the ears cannot control physically the act of perception as opening, closing or directing as the eyes and this mechanism is constantly open. Therefore, according to the same linguist (2016), “within active visual perception, the perceiver physically and mentally controls the act of perception, while the control is only mental for the hearer” (p. 26). Although the hearer and speaker are two elements involved in hearing which “is said to be the sense of linguistic communication” and the speaker who “could be a person or an object, known or unknown, but the fact is that it is always present” (Ibarretxe- Antunano, 1999, p. 64). 2.3.4. Touch Touch is defined in the OALD as “coming into or being in contact with, handling in order to interfere with, altering or otherwise affecting, affecting or concerning, producing feelings of affection, gratitude, or sympathy in, reaching (a specified level or amount)”. “Touch provides people with the possibility to learn, interact with the others and even protect themselves from unpleasant or dangerous situations” (Mihaela, 2016, p. 26). In other words, according to same linguist, “the perception of touch is the contact between the skin and an external entity such as a different object when mechanical disturbances produce nerve impulses” (p. 26). This author presented “the difference with the other senses results from the fact that the sensations are due to stimulation anywhere on the entire body” (p. 26) and the hand is considered as the most subject organ to stimulation. “It is important to notice that tactile perception is always superficial and thus, the perceiver can in this way obtain information about the temperature, shape, size, and surface of a perceived object” (Ibarretxe-Antunano, 1999, p. 139). This author defined “by touching an object, the perceiver can tell what the limits of the perceived object are” (p. 26). Mihaela (2016) also emphasized that in sensory modalities, the touch 23 always has a connection to emotions. Buck (1949) gives an example of ‘feel of’ and ‘feel’ as in ‘perceive by touch’ “refers not only to the physical perception but also to the emotions” and Hans Kurath (1921) explains that “this transfer of meaning from sense perception to emotion on the basis of the similarity of feeling that both domains share” (cited in Mihaela, 2016, p. 26). 2.3.5. Smell In the OALD, smell is defined as “the faculty or power of perceiving odours or scents by means of the organs in the nose, a highly developed sense of smell, perceiving or detecting the odour or scent of, emitting an odour or scent of a specified kind”. In Mihaela’s work (2016), she stated that “the perceiver’s age or gender, the distance between him and the source of the odour, the concentration level of odorous molecules are all factors that make this perception different from odour to odour” (p. 26). According the same linguist, “the information obtained is projected into the limbic region of the brain, also called the emotional brain. Thus, odours receive an immediate, positive or negative valorisation” (p. 26). Viberg (1984) gave a reason for this is that “it often signals the presence of something at a distance from the perceiver” (p. 148). We must recognize that, from all senses, while vision is the one that is by far the most commonly used to objectively describe what one perceives, smell is the least developed sense in humans. It cannot be interpreted similarly to the stimulus for vision or hearing. 2.3.6. Taste Taste is defined in the OALD: “The sensation of flavour perceived in the mouth and throat on contact with a substance”. According to Ibarretxe-Antunano (1999), the sense of taste has some properties: (1) contact, (2) voluntary, (3) briefness and (4) subjectivity. According to Miller and Reedy (1990), the taste buds are the responsible receptor cells for the reception of chemical substances. The most sensitive part, however, is the tip of the tongue; this can identify tastes in only a couple of seconds. Besides, taste information arrives at the brain over several different communication lines. In the brain, there are two sections involved: on the 24 one hand, the insular cortex - located between the temporal and parietal lobes – whose activity triggers the conscious experience of tastes; and on the other, part of the limbic system, which registers some behaviourally relevant information about taste. As seen in the case of smell, this is a possible explanation for the differences in the aesthetic judgments of the perceivers in reference to the classification of tastes, both physically and metaphorically. The physical sense of taste is generally linked to personal likes and dislikes in the mental world. Perhaps the reason why this is so lies in the fact that the sense of taste is most closely associated with fine discrimination. In short, thanks to these characteristics of human senses, they are used to create many metaphorical expressions, especially in literature. The next part presents metaphor in literature. 2.4. Metaphor in literature According to Kưvecses (2010), “one of the startling discoveries of work on poetic language by cognitive linguists is the recognition that most poetic language is based on conventional, ordinary conceptual metaphors” (p. 50). In fact, he emphasized that metaphors have a relationship when they are used in ordinary language and in literature (Kưvecses, 2010). According to the same author, “there is a widespread notion among lay people and scholars alike that the “real” source of metaphor is in literature and the arts” (p. 50). In fact, he found that “everyday language and the everyday conceptual system contribute a great deal to the working of the artistic genius” (p. 49). In literature, writers obviously create new metaphors “jumping out” from the text and “they have a tendency to be noteworthy by virtue of their frequently anomalous or strange character” (Kưvecses, 2010, p. 49). For illustration, Gibbs (1994) analysed an example (cited in Kưvecses, 2010, p. 49) from the novel Love in the Time of Cholera by Gabriel García Márquez: “Once he tasted some chamomile tea “This stuff tastes of window.” it did taste of window”. In this situation, a new perspective is created from a reality by the author with an idea of creating an unconventional metaphor “tea tastes like window”. This 25 is one of literary metaphors that are original and creative (Kưvecses, 2010). Besides, the characteristics of personification, extended metaphors, image-based metaphors, or “megametaphors” are also included in literary texts. In summary, according to Kưvecses (2010), the authors often make metaphors constituting a special set. These metaphors are done by ordinary people. There are some ways to transform them used by writers like extending, elaboration, combining or questioning that make literary metaphors special. “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” (Kưvecses, 2010, p. 59). 2.5. Related research 2.5.1. A general review From Aristotlian’s time, the existence of metaphors has been recognized (Kưvecses, 2002, p. 5). Until the 1960s-70s, cognitive linguistics emerged and was considered the classic study. According to Evans and Green (2006), although firmly rooted around ten years ago, CL’s research was dominated by a few scholars in the 1970s-80s. However, “by the early 1990s, there was a growing proliferation of research in this area, and of researchers who identified themselves as cognitive linguists” (Evans & Green, 2006, p. 5). It “marked the birth of cognitive linguistics as a broadly grounded, self conscious intellectual movement” (Langacker, 1991/2002, p. xv). Then, CL has gained a good deal of visibility in research in many languages in the world. The works can be listed here: Evans (2007); Evans & Green (2006), Lee, D. (2001) and Geeraerts (2006) had the works to introduce CL; Johnson (1992) gave a detail in philosophical implications of Cognitive Semantics; Langacker (1987) wrote “Foundations of cognitive grammar: Theoretical Prerequisites”; Nesset T. (2008) showed “Abstract Phonology in a Concrete Model: Cognitive Linguistics and the Morphology - Phonology Interface”; Sweetser (1999) studied on “Compositionality and blending: semantic composition, in cognitively realistic framework” and “Blended spaces and 26 performativity” (2000); Talmy (2000) gave a study of “Toward a Cognitive Semantics”; Lý Toàn Thắng had some typical works such as “Linguistics and Space Cognition” (1984), “Cognitive Linguistics - From theory to Practice” (2005) and “Applying embodiment theory on analysing some linguistic expressions” (2007). Some authors studied it on cultural aspects such as Sweetser with “From Etymology to Pragmatics: Metaphorical and Cultural Aspects of Semantic Structure” (1990). In 2003, Boers showed special issue on applied linguistics perspectives on cross-cultural variation in conceptual metaphor. Johnson (1987) had “The Body in the Mind: The Bodily Basis of Meaning, Imagination and Reason”. There are indeed many works on CL, especially on conceptual metaphor - one of the salient achievements of this approach. Many typical authors with the works of metaphor in the view of CL can be remarked. Searle (1993) had a study of “Metaphor.” Gibbs and Steen (1999) gave “Metaphor in cognitive linguistics”, especially Lakoff and Kưvecses. Lakoff had “Metaphors We Live By” (with Johnson, [1980], 2003), “A Figure of Thought. Metaphor and Symbolic Activity” (1986), “Image Metaphors. Metaphor and Symbolic Activity” (1987), “More Than Cool Reason: A Field Guide to Poetic Metaphor” (with Turner, 1989), “The Invariance Hypothesis: Is Abstract Reason Based on Image schemas?” (1990), “The contemporary theory of metaphor” (1993), “Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought” (with Johnson, 1999). Besides, Kưvecses also had many works of metaphor in the view of CL such as “Happiness: A definitional effort - Metaphor and Symbolic Activity” (1991), “Metaphor and emotion: Language, culture, and body in human feeling” (2000); “Metaphor: A Practical Introduction” ([2002] 2010), “Metaphor in culture: Universality and variation” (2005), “Language, mind and culture: a practical introduction” (2006), “Metaphor and emotion” (2008). Charteris-Black (2004) stated the corpus approaches to critical metaphor analysis. Picken (2007) performed a study of “Literature, Metaphor, and the Foreign Language Learner”. Trần Văn 27 Cơ stated his works in “Cognitive Linguistics - noting and thinking” (2007), “Perception, Cognition - Two but one” (2007), “An introduction to Cognitive Linguistics” (2011), “Cognitive Linguistics - Explaining and Contrasting Dictionary” (2011). Phan Văn Hòa (2008) studied of “Comparative Metaphor, Pragmatic Metaphor and Grammatical Metaphor”. Nguyêñ Đức Dân (2009) had “Cognition in space of Vietnamese”. In 2007, Pragglejaz Group gave two works: “A Method for Identifying Metaphorically Used Words in Discourse. Metaphor and Symbol” and “A Practical and Flexible Method for Identifying Metaphorically - Used Words in Discourse”. In 2008, Phan Thế Hưng performed a study of “Cognitive Model in conceptual metaphor”. In 2009, he continued with studying of “An investigation of Vietnamese metaphors in the view of Cognitive Linguistics” for his doctoral dissertation. Steen et al (2010) gave “Metaphor in Usage”. There are also many works in comparing and contrasting with many world languages like Charteris-Black with “Second language figurative proficiency: A comparative study of Malay and English” (2002); Trần Thi ̣ Thu Huê ̣with “A contrastive and comparative study of metaphor in Vietnamese and Korean in the view of Cognitive Linguistics” (2002); Nguyêñ Thi ̣ Quyết with “Metaphors in contemporary English and Vietnamese poetry: a study from cognitive approach” (2015); Trần Bá Tiến with “A study of idioms of emotion in English and Vietnamese in the view of Cognitive Linguistics” (2015); Nguyêñ Văn Trào with “Idioms of emotion: A comparative and contrastive analysis” (2009), etc. In the view of CL, “mental and linguistic categories are not abstract, disembodied and human independent categories; we create them on the basis of our concrete experiences and under the constraints imposed by our bodies” (Ibarretxe- Antuđano, 1999, p. 18). Therefore, using body parts to express the metaphorical meanings is extremely popular in daily life which attracts the linguists’ interest with many famous works like: Nguyêñ Văn Phở with “Perception verbs in Vietnamese” (2009); Ibarretxe-Antuđano with “Polysemy and Metaphor in Perception Verbs: A Cross-linguistic Study (1999); Olfactory Research Fund 28 with “Living well with your Sense of Smell (1996); Sekuler & Blake with “Perception” (1994); Viberg with “The verbs of perception: A typological study” (1984), etc. However, due to space and time limitations, we will choose only a certain number of salient related works of metaphor in English and Vietnamese to review. 2.5.2. The typical related works in English 2.5.2.1. The work of Lakoff and Johnson In 1980, Lakoff and Johnson first published their seminal book Metaphors We Live By (revised 2003) which has been applied to the study of many different languages. In this work, Lakoff and Johnson gave a new perspective on metaphor. They take the position that metaphor is a part of language usage and is therefore part of cognition. Further, metaphor is not merely cognitive; it is also a linguistic, sociocultural, neural, and bodily phenomenon (Lakoff & Johnson, 1980, 2003). This view is shared by other scholars (Gibbs, 1998; Kưvecses, 2002, 2005, 2006, 2010; Charteris Black, 2002; Picken, 2007). The difference with previous approaches is that, in the CL perspective, metaphor is defined as understanding one conceptual domain in terms of another. According to Lakoff and Johnson (2003), metaphor constitutes one of the basic strands of CL, and one which is mentioned in most CL studies in CL. In other words, CL gave conceptual metaphorical analysis its academic foundation (Kưvecses, 2002). Lakoff & Johnson (1980) stated that “these patterns are in fact so widespread and established that it affects the way we speak, think and even act, thus being a dominant character in our everyday life” (p. 3). It is also defined that “they ultimately assert that metaphors go beyond mere words and that our thought processes are largely metaphorical in nature” (p. 6). In the view of CL, metaphors are understood in association with a system of many other metaphors: together, they form what is called a conceptual metaphor (Lakoff & Johnson, 2003). Conceptual metaphor has been investigated in a number of specific domains. In economics texts, Johnson (1987) argued in The Body in the Mind: The “bodily 29 basis of meaning, imagination, and reason”. In literature, Lakoff and Turner (1989) showed the relevance of the ordinary language metaphoric system for the interpretation of literature. Lakoff (1993) studied the applicability of conceptual metaphor to dream analysis in the psychological domain. 2.5.2.2. The work of Sweetser In 1990, in the view of CL, Sweetser analysed the multiple meanings English perception verbs in the semantic field to show that understanding lexical polysemy independently of human cognition is impossible that in the past long time, there were many researchers on perception such as Bechtel (1879), Kurath (1921), and Buck (1949) whose studies only stopped at the etymological origin. According to Sweetser (1990), the mind and body’s link-up of vocabularies is both rooted in “certain psychosomatic reactions” and “in some examples psychosomatic explanations” (cited in Ibarretxe-Antuđano, 1999c, p. 93). She also shows an instance that “it is possible to have emotional tension or to feel low may be linked to the muscular states of tension and limpness that go with these mental states” (p. 93). The same author also presents “however, other expressions such as bitter anger or sweet revenge cannot be linked to any direct physical taste response of bitterness or sweetness; they should be regarded as metaphorical” (cited in Ibarretxe-Antuđano, 1999c, p. 93). Therefore, by correspondences between our external experience and our internal emotional and cognitive states, Sweetser (1990) supposed the MIND-AS- BODY metaphor considered as “conceptual metaphor” in the view of Lakoff and Johnson (1980, 1999). In this work, she supposes that “our conceptualising one whole area of experience (i.e. mind) in terms of another (i.e. body)” (cited in Ibarretxe- Antuđano, 1999c, p. 108). Sweetser (1990) also states that “from the vocabulary of bodily experience to the vocabulary of psychological states (p.30). She also emphasizes that “the vocabulary of physical perception as the source domain and the vocabulary of the internal self and sensations as the target domain” (1990, p. 30). This is considered as important point in her study which can be summarised in the following figure: 30 Figure 2.1: The structure of perception metaphors (After Sweetser 1990, p. 38) Although Sweetser’s research is inventive in that time (1990), her work has still some dispute being nonetheless present. Then, using the original ideas in Sweetser’s thesis, Ibarretxe-Antuđano has the extensive works on this subject in the later years (1999, 2005 and 2008). 2.5.2.3. The work of Ibarretxe-Antuđano Basing on Sweetser’s (1990) above work, Ibarretxe-Antuđano (1999c) conducted her doctoral thesis with the study “Polysemy and metaphor in perception verbs: a cross-linguistic study”. She studied on polysemy from a cognitive semantic perspective of perception verbs in English, Basque and Spanish. She paid attention to its semantic field. She emphasized the reason and the way people experience and understand the senses. This work shows the various their extensions of meaning. Besides, she focuses on the ways that contain the polysemy in them. Finally, she clears the locations of these perception verbs, which the elements it effects in complementing them in a sentence. Her work only focuses on perception verbs in English, Basque and 31 Spanish through presenting a synchronic typological study of the different meanings, both physical and metaphorical, found in perception verbs in the three languages. All are summarised in the following figure: Figure 2.2: A new model for perception verbs (After Ibarretxe-Antuđano, 1999c, p. 212) 2.5.2.4. The work of Kưvecses Conceptual metaphor has also been the focus of crosslinguistic study. Kưvecses (2006) examined the same figurative meaning in English and Hungarian. Assuming that different word forms are utilized in different languages to express roughly equivalent meanings, the literal meaning of an expression with a figurative meaning may be either the same or different in the two languages. Kưvecses highlights three cognitive devices: conceptual metaphor, conceptual metonymy, and a combination of the two. Each may be either the same or different in the two languages. Kưvecses’ work clarifies the relation between metaphorical language and the all-important notion of culture in its many forms. According to Kưvecses (2002, p. 6) “as metaphors are frequently used to demonstrate or better understand a theoretical concept, it appears intuitive to use a more concrete concept for further clarification”. 32 “Conceptual metaphors therefore commonly apply more abstract concepts for the target domains and more definite or physical concepts for the source” (Kưvecses, 2002, p. 6). Stockwell (2002) supports this by claiming the tangible world around us is a typical basis to comprehend the more abstract ideas. Kưvecses (2002) furthermore explains that this accounts for the unidirectionality of conceptual metaphors, that the metaphorical process generally goes “from the more concrete to the more abstract but not the other way around” (p. 6). He analyses in some detail one of the best-known conceptual metaphors in the cognitive linguistic literature: LOVE IS A JOURNEY using the American English examples given by Lakoff and Johnson, and Hungarian counterparts. He shows that most of the American English examples are translated into Hungarian in a straightforward way. In English, the LOVE IS A JOURNEY metaphor has agents involved in an internal way (mentally, conceptually) in making decisions. In Hungarian, conversely, the metaphor leans on agents who are, from the outside, forced to make decisions about their relationship. In general, Kưvecses (2006) argues “this can be related to a more fatalistic attitude to life in the case of Hungarians, a further difference in culturally entrenched outlook on love relationships” (p. 176). He also emphasizes “it may be related to a distinction between a more success-oriented and a less success-oriented attitude” (p. 176) and the distinction concerning “the naturalness with which the people in the relationship evaluate ‘from the outside,’ as it were, the progress they have made” (p. 176). For this author, “the American explicitness concerning one’s success or difficulties in love relationships reflects a degree of extroversion that is not found in many other cultures, including Hungarian and British cultures” (Kưvecses, 2005, p. 160). He concludes that “two languages or varieties may have the same conceptual metaphor but the linguistic expression of the conceptual metaphor may be influenced or shaped by differences in cultural-ideological traits and assumptions characterizing different cultures” (Kưvecses, 2006, p. 177). 33 Other work on metaphor by applied linguistics has extended Kưvecses’ crosslinguistic comparison to other langua... ask. Truyện ngắn chọn lọc 2003 6 PL 92 10. Khơng hiểu sao, Tồn thấy hơi rờn rợn, ngần ngừ chưa muốn tháo ba lơ. Somehow, Tồn felt a little grouchy and hesitant to take off the backpack. Truyện ngắn chọn lọc 2003 6 11. Tồn bỗng thấy bứt rứt. Tồn suddenly felt fidget. Truyện ngắn chọn lọc 2003 12 12. Trong bĩng chiều, cảnh hoang vu của khe núi làm nàng chợt thấy trơ trọi. In the shadow of the afternoon, the wilderness of the canyon made her suddenly feel lonely. Truyện ngắn chọn lọc 2003 127 13. Tự dưng Lễ thấy hãi hùng. Suddenly Le feels frightened. Truyện ngắn chọn lọc 2003 198 14. Chị thấy gờn gợn. She felt a bit scared. Truyện ngắn chọn lọc 2003 207 15. Chợt chị thấy sợ hãi. Suddenly, she felt scared. Truyện ngắn chọn lọc 2003 207 16. Đã quen với những câu hỏi vang lên từ sau lưng nên chị khơng cịn giật mình nữa, chỉ thấy rờn rợn. Already familiar with the questions raised from behind her so she was no longer startled, yet only felt a bit scared. Truyện ngắn chọn lọc 2003 210 17. Chị im lặng bước sau Vành, lịng bỗng thấy như là thanh thản. She silently stepped behind Vành, her heart suddenly felt serene. Truyện ngắn chọn lọc 2003 216 18. Nghĩ vậy về Hấn nên mẹ tơi và tơi phần nào cũng thấy yên lịng. Thinking that about Hấn, my mother and I were/ felt relieved. Truyện ngắn chọn lọc 2003 220 19. Cĩ điều gì như bất chợt vừa mất đi khiến mình thấy trống trải hẫng hụt quá! There is something like suddenly lost that makes me feel very empty! Truyện ngắn chọn lọc 2003 226 20. Qua cửa sổ, Thi trơng thấy đứa bé hồi nãy chân đất chạy theo đồn tàu, tay nĩ cầm một tập tiền lẻ, Thi thấy gai người, xé vội bao thuốc lá, rút cây bút chì và vẽ. Through the window, Thi saw the child he met recently running toward the train on his bare foot, his hand holding a wad of small paper money. Thi felt Truyện ngắn chọn lọc 2003 305 PL 93 uncomfortable, ripped the cigarette pack, and took the pencil out and drew. 21. Cả Hùy và Chi thấy lâng lâng. Both Huy and Chi felt happy. Hương rượu cẩm 57 22. Ngày thường gặp chú nhiều người thấy khĩ chịu. On normal days many people find him uncomfortable. Hương rượu cẩm 128 23. Thanh thấy nhoi nhĩi trong lịng. Thanh felt throbbed in his heart. Hương rượu cẩm 129 24. Thanh thấy tim đau nhĩi, ngực tức nghẹn. Thanh felt his heart aching, chest choking. Hương rượu cẩm 144 25. Lúc đầu anh vẫn thấy lo sợ. At first he still felt afraid. Hương rượu cẩm 189 26. Trung thấy dìu dịu trong đầu. Trung felt relieved in his head. Hương rượu cẩm 212 27. Đồng thời thấy rạo rực khi nghĩ lại truyền thống anh hùng của nhà máy. At the same time, he felt excited when thinking of the heroic tradition of the factory. Hương rượu cẩm 216 28. Đứng trước chị bỗng nhiên tơi thấy ngường ngượng vì bộ quần áo khá thẳng nếp của mình. Standing in front of her suddenly made me feel embarrassed by my rather straight clothes. Hương rượu cẩm 225 29. Chị chỉ thấy tội tội hai thằng lính, nhất là cái thằng mặt non choẹt, luơn miệng kêu cha nĩ bằng chú. She only felt bad for the two soldiers, especially the younger one, who always called his father uncle. Chim én bay 39 30. Chị bỗng thấy xấu hổ. She suddenly felt embarrassed. Chim én bay 40 31. Chị cảm thấy nhột nhột trong dạ. She felt tickling in the stomach. Chim én bay 42 32. Chị thấy ớn lạnh dọc sống lưng như lúc đứng trong nghĩa địa hồi nãy. She felt chilled along her back as she stood in the graveyard some time ago. Chim én bay 43 33. Chị bỗng thấy hoảng sợ. She suddenly felt panic. Chim én bay 111 34. Câu nĩi làm anh chạnh lịng và chị thấy thương anh vơ hạn. The saying made him unhappy, and she felt a profound love for him. Chim én bay 137 35. Chị thấy nĩng ruột quá chừng. She felt very aching. Chim én bay 151 36. Cúc hồi hộp quá, cơ bỗng thấy người nĩng ran lên, chiếc áo lao động kẻ sọc bĩ sát lưng lấm thấm mồ hơi. Cúc was so nervous; she suddenly felt hot, the striped shirt labor tightening her back was full of sweat. Hoa cúc nâu 67 37. Những lúc ấy y thống buồn, nhưng lại chợt thấy vui. At those moments, he was a bit sad, but then suddenly felt Truyện ngắn hay 41 PL 94 happy. 2007 38. Đêm tân hơn Bồ Bồ khơng thấy sung sướng đặc biệt nhưng khơng thấy kinh tởm. On the wedding night, Bồ Bồ did not feel particularly happy but not disgusting. Truyện ngắn hay 2007 59 39. Chợt ơng Bùi thấy mủi lịng. Suddenly, Mr. Bui felt relented. Truyện ngắn hay 2007 77 40. Tiến đi rồi, ơng Bùi chợt thấy ngượng ngùng. After Tiến left, Mr. Bui suddenly felt embarrassed. Truyện ngắn hay 2007 79 41. Chị thấy lịng dịu lại, cĩ cái gì mơ hồ lắng đọng trong tâm can chị. She felt calmed, something vague deposited in her heart. Truyện ngắn hay 2007 111 42. H’Linh thấy má mình nĩng... H'Linh felt her cheeks hot... Truyện ngắn hay 2007 130 43. H’Linh thấy thương anh rể quá. H'Linh felt very compassionate for her brother-in-law. Truyện ngắn hay 2007 138 44. Như cĩ thuốc tiên người tơi bắt đầu thấy rạo rực lạ bụng dưới tức anh ách máu chạy rần rật giật đùng đùng nhức như đĩng mủ. As if having a magic pill, I began to feel harsh blaze in the abdomen and my blood run tightly like a pus. Truyện ngắn hay 2007 152 45. Chỉ như vậy mà cơ chợt thấy lịng chẳng yên. Only then did she suddenly feel uncomfortable. Truyện ngắn hay 2007 327 46. Nhưng cũng chính lúc ấy Long thấy lịng mình như nát ra, tan lỗng, quặn thắt nỗi niềm dâng lên, ứ tắc nơi cổ họng. But at the same time, Long found that his heart was crushed, diluted, crammed up; his thoughts and worries surged in the throat. Truyện ngắn hay 2007 414 47. Hảo thấy đầu ĩc thoải mái khi tỉnh dậy. Hao felt his mind relaxed when he woke up. Rừng khát 93 48. Nhìn họ, già thấy lo trong cái bụng vì vẻ mặt họ ai cũng khác lạ. Looking at them, the old man felt worried in his belly because their faces looked different. Rừng khát 95 49. Tơi cũng thấy xĩt ruột. I also felt hurt. Rừng khát 113 50. Nghĩ ngợi lung tung, đại ca thấy đau lịng vì năm thằng con trai hư hỏng. Thinking awkwardly, the boss felt hurt by his five bad boys. Rừng khát 217 51. Từ khi tơi trịn mười lăm tuổi, tơi sờ thấy tim nhĩi đau mỗi khi mẹ cười như thế. Since I was fifteen years old, I felt my heart ache every time my mom laughed like that. Truyện ngắn hay 2010 24 PL 95 52. Trái tim tươi trẻ của ơng thấy đang hồi hộp, chạy nháo lên dồn dập trong lồng ngực. His bright young heart was thrilled, running up and down in his chest. Truyện ngắn hay 2010 282 53. Khi lên voi, lúc xuống chĩ, chỉ để cĩ tiền mà tiền quan trọng thế nhưng khơng làm cho hắn thấy hạnh phúc. Fasting comes after feasting, just to have money and money is important, but it does not make him happy. Truyện ngắn hay 2010 337 54. Chỉ ngồi lặng yên, khơng nĩi chuyện nhưng thấy lịng bình yên lạ. Just sitting quietly, not talking but she finds such a peace of mind. Truyện ngắn đặc sắc 2011 283 55. Cơ thấy tim mình đập vang vang tận đỉnh đầu. She felt her heart beat to the top of her head. Truyện ngắn đặc sắc 2011 346 56. Chị ngồi nhìn đám mây lơ lửng trên nền trời, lịng thấy sao trống trải quá! She sat looking at the cloud hovering in the sky and felt empty! Truyện ngắn đặc sắc 2011 374 57. Mình thấy ngượng! I felt embarrassed! Truyện ngắn đặc sắc 2011 390 58. Tơi cảm thấy vơ duyên cho nỗi day dứt. I feel ungrateful for the torment. Truyện ngắn hay 2009 116 59. Tơi cảm thấy tủi thân muốn khĩc vì cảm giác bị bỏ rơi. I feel like crying because of the feeling of being abandoned. Truyện ngắn hay 2002 - 2003 19 60. Bà khơng nĩi nhưng Liên hiểu mẹ nghĩ gì và chị cảm thấy lịng mình đau buốt. Though Liên’s mother did not talk, Liên understood what her mother thought and she felt painful. Truyện ngắn hay 2002 - 2003 238 61. Chị luơn cảm thấy cơ đơn, sống bên Quân chị luơn phải nghe, phải chứng kiến những gì mà chị khơng muốn nghe, khơng muốn chứng kiến. She always felt lonely, living side by side with Quân but she always had to hear and witness what she did not want to hear or witness. Truyện ngắn hay 2002 - 2003 240 62. Tự nhiên ơng cảm thấy trống vắng điều gì đấy rất khĩ cắt nghĩa. Suddenly, he felt empty of something that was difficult to explain. Truyện ngắn chọn lọc 2003 141 63. Bính cảm thấy chính mình như vừa bị tát. Binh felt himself slapped. Truyện ngắn chọn lọc 2003 298 64. Nguyệt nhìn ba người ăn uống cũng cảm thấy trong người như ngây ngất đang say. Nguyệt looked at the three- people eating and also felt ecstatic like being drunk. Truyện ngắn chọn lọc 2003 306 PL 96 65. Con người cũng cảm thấy phấn chấn và nỗi khổ, nổi đau cũng như giảm được một phần khơng? Do people also feel the excitement, the suffering, or the pain as well as reducing the pain partially? Hương rượu cẩm 91 66. Nĩ trở lại vào giây phút chị cảm thấy cơ đơn nhất. It came back at the moment when she felt most lonely. Chim én bay 24 67. Suốt dọc con đường từ Đà Nẵng trở vào, những kỷ niệm cũ của hơn mười năm trước thức dậy làm lịng chị cảm thấy nơn nao. Along the road from Danang to the south, the old memories of more than ten years ago woke her up, making her feel excited. Chim én bay 25 68. Chị chợt cảm thấy ghê ghê và hơi né tránh theo một phản ý tự nhiên. She suddenly felt horrified and slightly evaded as a natural reflex. Chim én bay 88 69. Chị bỗng cảm thấy buồn bã, giống như người đã phải đi qua một quãng đường lầy lội, và đã cố gắng quên quãng đường ấy đi nhưng cĩ kẻ vẫn buột chị phải đi trở lại con đường ấy. She suddenly felt sad, like the person who had to go through a muddy road, and tried to forget that road but somebody else forced her go back to that path. Chim én bay 90 70. Nhưng chị cảm thấy nhẹ nhõm khi nhớ tới anh Cường, nghĩ rằng, mình đã làm được một việc gì đĩ cho anh. But she was relieved to think of Cuong, thinking that she had done something for him. Chim én bay 126 71. Chị ơm riết lấy anh, cảm thấy đau thắt nơi ngực bởi một sự mất mát. She gripped him, feeling aching in the chest by a loss. Chim én bay 132 72. Mặt chị nĩng rát. Chưa bao giờ chị cảm thấy sung sướng và hạnh phúc như lúc đĩ. Her face was like burning. Never before did she feel so happy and joyful. Chim én bay 163 73. Chị thầm nghĩ và cảm thấy ân hận, như chính vì sự chậm trễ, thờ ơ của mình đã đẩy chị ta tới nơng nỗi ấy. She thought and felt remorse, as if her delay and apathy had pushed her to this situation. Chim én bay 172 74. Tơi trố mắt nhìn cơ gái trước mặt qua ánh sáng mờ ảo quyện khĩi thuốc, cảm thấy vừa ngượng vừa tức. I gazed at the girl in front of me in the light of the smoke, feeling embarrassed. Truyện ngắn hay 2007 10 75. Đêm đêm nhìn chị em vẹo xiêu đạp xe về nhà trọ tơi cảm thấy ngượng ngùng. At night when seeing the sisters ride the bike unstably to the hostel, I feel awkward. Truyện ngắn hay 2007 296 76. Hắn đi rồi, Long càng thấy trống vắng. When he left, Long felt emptier. Truyện ngắn hay 2007 400 77. Tơi vẫn cảm thấy ngượng ngùng, vì những hành động ngu ngốc ban trưa, khơng I still felt embarrassed, because of idiotic activities at noon, did not want to get out Săn cá thần 22 PL 97 muốn chiu ra khỏi lều và giáp mặt với bọn họ. of the tent and faced them. 78. Tơi nhìn theo, bỗng cảm thấy ớn lạnh xương sống, phía ấy tối om om, chẳng hứa hẹn điều gì tốt lành. I follow with my eyes, suddenly feel chilly, it is pitch-black in that way, not promising anything good. Săn cá thần 27 79. Tơi cảm thấy hai tai mình nĩng ran, tim đập thình thịch liên hồi kỳ trận. I felt my ears burning, rapidly my heart beat. Săn cá thần 82 80. Tơi cảm thấy chết điếng người, tơi hình dung ra Tú khỉ đang cảm thấy như thế nào. I felt dumbfounded, I imagined how Tu “monkey” was feeling. Săn cá thần 83 81. Anh cũng thấy nhàm chán khi ở cái tổ dân phố này mấy năm rồi, ngày nào cũng như ngày nào, nhà nào biết nhà ấy, khơng ai đến với ai lại cịn bình phẩm nhau nữa chứ. He also felt bored staying in this neighborhood for a few years, every day looks like any day, this household knows that household, no one knows each other to comment about each other. Rừng khát 90 82. Dù dân trong phố huyện khơng ai biết nguyên nhân họ bỏ nhau, nhưng rộ lên tiếng xì xào, làm bố mẹ Lan buồn bực, cảm thấy xấu hổ. Even though people in the district town did not know why they were separating each other, the rumour made Lan’s parents feel upset and embarrassed. Rừng khát 103 83. Tất thảy đều cảm thấy một niềm vui lơ lửng trong suốt buổi chiều cịn lại. All felt a joy lingering throughout the rest of the afternoon. Truyện ngắn hay 2010 107 84. Đức phi Ngọc Bình cảm thấy như tắc thở bởi mùi máu tanh tưởi và khét lạnh rợn ngợp của binh khí chạm vào nhau. Imperial PrincessNgọc Bình felt trapped by the smell of blood and cold and terrifying weapons touching each other. Truyện ngắn hay 2010 174 85. Anh cảm thấy tâm hồn mình bị tổn thương. He felt his soul hurt. Truyện ngắn hay 2010 274 86. Về phần anh, chung sống với Vân được một thời gian, anh cảm thấy chán ngán với tính cách đanh đá, cộc cằn của cơ. To him, living with Van for some time, he felt bored with her shrewish, gruff personality. Truyện ngắn đặc sắc 2011 283 87. Nhờ cái nhà xí cơng cộng mà chị Sợi cảm thấy yên tâm khi cĩ khách. Thanks to the public toilet, she feels comfortable when she has guests. Truyện ngắn đặc sắc 2011 297 88. Cảm giác vừa dâng trào rạo rực lại vừa khước từ chị trong thời khắc chạng vạng. The rising excitement feeling rejected her again in the twilight moment. Truyện ngắn hay 2009 181 89. Lúc ấy tơi khơng cịn cảm giác đau đớn nữa mà là một thứ At that time, I did not feel pain anymore but a feeling of Truyện ngắn hay 359 PL 98 cảm giác sảng khối tột đỉnh. utmost pleasure instead. 2009 90. Cơ ngụp lặn trong những câu chuyện của Đào với cảm giác lạ lẫm. She dives into Đào’s story with strange feeling. Truyện ngắn hay 2002 - 2003 115 91. Tuy vậy cảm giác rờn rợn vẫn bao trùm đâu đĩ. However, the scary feeling was still there. Truyện ngắn chọn lọc 2003 11 92. Anh cĩ cảm giác như hàng trăm, hàng ngàn mũi kim đang đâm thẳng vào hai bên thái dương. He feels like hundreds; thousands of needles are stabbing directly to his temples. Hương rượu cẩm 156 93. Chị cĩ cảm giác ngờ ngợ, nhưng ngờ ngợ cái gì, tại sao lại ngờ ngờ thì chị khơng nghĩ ra. She has a sense of doubt, but what to doubt, why in the doubt she could not think of? Chim én bay 39 94. Gã cảm giác con tim trong ngực đang bị một bàn tay ai đĩ bĩp chặt. He felt the heart in his chest was squeezed by somebody’s hand. Truyện ngắn hay 2007 202 95. Ngồi ơm thân hình lạnh ngắt của em tơi cĩ cảm giác sợ hãi là đang ơm một thi thể đưa vào nhà xác. Holding your cold body, I was frightened that I was embracing a corpse into the morgue. Truyện ngắn hay 2007 297 96. \ Trời lạnh dã man, ngồi trong xe mà tơi vẫn cĩ cảm giác như đầu ĩc đơng đặc lại. It was brutally cold; sitting in the car, but I still felt like my mind was frozen. Săn cá thần 88 97. Một cảm giác khơng vui chợt đến khiến tơi thở dài, cuộc chia tay với hai cơ gái đĩ thì lại chẳng vui vẻ cho lắm, một lúc nào đĩ tơi sẽ kể lại chuyện này. An unhappy feeling occurred to make me sigh, saying goodbye to those two girls was not so fun, someday I'll tell you this story. Săn cá thần 148 98. Tuy nhiên, cĩ một lần, cơ khẽ rùng mình vì nhận thấy một cảm giác dễ chịu đặc biệt do nước mang lại. However, one time, she shuddered slightly as she felt a special sense of well-being brought by the water. Truyện ngắn hay 2010 110 99. Chạm vào hình ảnh đĩ, lần thứ hai tâm hồn cơ gái bị xáo động. Touching that image, the girl's soul is disturbed the second time. Truyện ngắn chọn lọc 2003 11 100. Cảm giác ghê ghê người khi chạm phải các bức tượng bằng gỗ. Feeling horrible when touching wooden statues. Truyện ngắn hay 2007 137 PL 99 SMELL (KHỨU GIÁC) 1. AN INTELLECTUAL ACTIVITY IS SMELL 1. Ta ngửi mùi ta biết ở nơi nào cĩ binh khí, tên độc, nơi nào cĩ mùi hơi người, hơi cầm thú. I smell I know where there is the smell of weapon andpoisoned arrow, where there is the smell of people andanimals. Truyện ngắn hay 2010 149 2. Cả cái xĩm núi này, mấy khi đã được ngửi khĩi xe hơi chạy qua, ấy vậy mà hơm nay cĩ đến mấy chục cái ơ tơ du lịch sang trọng bĩng lộn đỗ dọc từ sân đình vào vào tận cổng nhà ơng trơng như đàn bọ hung đang chờ tấn cơng bãi phân trâu vậy. This mountain village rarely smells cars running passed by, but today there are dozens of luxury cars park along the courtyard to his house gate, which look like a herd of bugs waiting to attack buffalo dung. Truyện ngắn đặc sắc 2011 40 3. Cĩ lẽ chúng ngửi thấy được mùi gì đĩ từ câu chuyện của tơi. Perhaps they smelled some odour from my story. Truyện ngắn hay 2009 259 4. Cĩ lẽ chúng ngửi thấy được mùi gì đĩ từ cơ thể của tơi. Maybe they can smell something from my body. Truyện ngắn hay 2009 374 5. Khi dân trong xĩm đổ vào thì đứng ở tam cấp, người ta đã ngửi thấy mùi của cái chết. When villagers flocked into, only standing at the three-step staircase, people could smellthe death. Truyện ngắn chọn lọc 2003 130 6. Hắn ngửi thấy mùi hương của tĩc đàn bà, hương của miệng cĩ đơi mơi thắm đỏ xưa giờ tuy đã phai màu son, nhưng vẫn mọng làm sao. He smells the scent of women's hair, the smell of the mouth with old red lips that have faded, but still very ripe. Truyện ngắn hay 2010 339 7. Chỉ cần trong hơi giĩ nồng nồng của sơng cĩ thoảng mùi chua chua khét khét của mồ hơi phơi nắng là ơng Lân biết cĩ đứa về. Just smelling from the strong wind of the river the smell of sour smell of sweat because of the sun, Mr. Lân knows that one of his children is coming. Truyện ngắn hay 2002 - 2003 133 8. Một mùi khĩi rơm rạ ở đâu thoảng tới, in vào trí nhớ cịn non của tơi một mùi hương mà khơng bao giờ tơi quên nữa. There was a smell of smoke from straw, deeply ingrained in my young memories a scent that I will never forget. Con ve sầu 9 2. EXPERIENCE IS SMELL 1. Khứu giác thời bú thép của tơi khơng phân biệt được sự khác nhau về mùi của những người My sense in the breast- feeding period does not tell the difference in the smell of Truyện ngắn hay 2009 362 PL 100 đàn bà. women. 2. Đêm đêm, ơng nằm nghe thạch sùng chép miệng và ngửi mùi đời. At night, he lies listening to geckos making sounds and smelling the smell of life. Hương rượu cẩm 112 3. Hãy cho nĩ biết mùi đàn ơng trước khi giết chết nĩ! Let it know the smell of men before killing it! Chim én bay 83 3. HUMAN EMOTION IS SMELL 1. Một mùi hương thơm khĩ tả chạy vào mũi Thức rồi xộc tới miên man lên từng tế bào. A fragrant aroma difficult to describe ran into Thức’s nose and then rushed to his every cell. Truyện ngắn hay 2009 328 2. Cái mùi rơm thơm ùa vào khứu giác dựng đứng kí ức đã ngủ quên bao năm. The aroma of straw rushing into the olfactory evokedthe memory that has been sleeping for years. Truyện ngắn hay 2010 66 3. Cái mùi thơm của ngơi nhà mới làm anh ngây ngất. The smell of the new house made him ecstatic. Truyện ngắn hay 2010 89 4. Cái mùi hắc nồng của vơi khiến tơi sung sướng với một cảm giác mình được đổi đời. The pungent smell of lime made me feel happy with a life-changing feeling. Truyện ngắn hay 2002 - 2003 8 5. Chắc mùi xào nấu đang hành hạ cái dạ dày lép của nĩ. The smell of cooking is torturing its stomach. Truyện ngắn chọn lọc 2003 57 6. Trong nhà mùi xơi mùi mẻ mùi bỗng rượu làm lịng bác thơm dậy lên. From the house, the smell of steamed glutinous rice, of ferment and of alcohol makes him aromatic. Truyện ngắn hay 2007 147 7. Ra trường, Ký giang tay trước biển đời mênh mơng hít hà sung sướng. Graduating from the school, Ký stretches his arms in front of the immense sea of life and breathing joyfully. Truyện ngắn hay 2002 - 2003 69 8. Sáu chúi mũi lên khắp cơ thể ả mà hít lấy hít để, cứ như thằng đàn ơng lần đầu được tiếp xúc với cơ thể đàn bà. Sáu smelt all over her body and breathed constantly, just like a man who was first exposed to a woman's body. Rừng khát 12 9. Giấc ngủ của anh thơm nồng, trịn trịa và viên mãn chẳng khác gì những đứa con của chúng tơi. His sleep is fragrant, round and full like our children. Truyện ngắn hay 2002- 2003 140 4. JUDGMENT IS SMELL 1. Lương “thơm tho” đến nỗi The salaryis so "fragrant" that Rừng 17 PL 101 chưa nĩng túi đã bốc hơi hết rồi. though it has not heated the pocket, it has evaporated. khát 2. Quan thanh liêm để cho đời tiếng thơm. Officials with integrity will be famous throughout their life. Rừng khát 108 TASTE (VI ̣GIÁC) 1. LANGUGAE IS TASTE 1. Ơng Thuyên ngồi im, vẻ mặt đanh lại. Hồi lâu ơng nĩi giọng lạnh nhạt. Mr. Thuyên sat quietly; his face got stiff. He spoke in a very cold voice. Truyện ngắn hay 2009 144 2. Ly tuyên bố, giọng lạnh tanh. Ly declared, with very cold voice. Hương rượu cẩm 166 3. Một giọng nĩi dịu ngọt rĩt vào tai nĩ. A sweet voice poured into his ear. Hương rượu cẩm 23 4. Tơi đến bên Phương chờ cho cơ nĩi chuyện với anh ấy xong đĩn lấy máy, giọng ngọt ngào hỏi thăm anh ấy cĩ khỏe khơng, cơng việc thế nào. I reached to Phuong, waited for her to finish talking with him, took the phone, in a sweet voice asked how his health and work was. Truyện ngắn hay 2010 25 5. Giọng hắn ấm nên càng buồn. Since his voice was warm, the voice became worse. Truyện ngắn hay 2010 329 6. Mẹ Hoan chửi con dâu ngọt như đang hát. Hoan’s mother was scolding her daughter-in-law as sweetly as singing. Truyện ngắn chọn lọc 2003 381 7. Thái nĩi gọn gàng, rành rẽ, khơ khan đến khắt nghiệt. Thái said neatly and clearly; a dry voice to severe. Hương rượu cẩm 76 8. Đi để hít thở lại được ngọt ngào những tiếng báo cáo anh... Travelling to breathe back the sweetness of the voice that reported him... Truyện ngắn hay 2007 70 9. Tiếng anh rể cay cay. The brother-in-law’s voice sounds spicy. Truyện ngắn hay 2007 134 10. Những câu hát ngọt ngào ngày xưa mẹ ru tơi thầm thì, nâng niu từ khi các con tơi cịn trứng nước. The sweet lyrics that my mother lulled me in the old days now whispered and cherished my babies. Truyện ngắn hay 2010 146 11. Hắn cũng bớt tơn trọng cấp trên, gĩp ý ngày càng kỹ, ngơn từ ngày càng sắc sảo, chua cay hơn. He became less respectfulofthe higher authorities; his suggestions were closer; his words were keener and bitter. Truyện ngắn hay 2010 208 PL 102 12. Sao lúc này mồm miệng lão bỗng đắng ngắt. Why does his mouth suddenly get bitter this time? Truyện ngắn đặc sắc 2011 11 13. Cổ Sâm nghẹn đắng. Anh chả thốt nổi lời nào chỉ trừng trừng nhìn ơng. Sâm choked up. He did not say anything, just glaring at the elder man. Truyện ngắn đặc sắc 2011 255 2. EXPERIENCE IS TASTE 1. Sau này, chị cũng gặp một đem mưa thật dữ dội, độc ác, nhưng ở vào một hồn cảnh cay đắng khác. Later, she also encountered another heavy and cruel night rain, but in another bitter situation. Chim én bay 132 2. Đại ca thường dặn nhà hàng cĩ cơ nào trẻ đẹp mới đến phải dành cho ơng nếm trước. The boss often told the restaurant if there was a new beautiful young girl, she should be for him to taste first. Rừng khát 118 3. Thứ ánh sáng kì diệu mà tơi đã quên từ lâu đang tràn trề trên mặt, chảy vào miệng tơi những dịng ngọt ngào. The light that I forgotten for a long time is overflowing on my face, flowing into my mouthsweet lines. Truyện ngắn hay 2010 14 3. HUMAN EMOTION IS TASTE 1. Tơi cố biện minh và miếng cơm vẫn đắng ngắt trong miệng. I tried to justify and the piece of ricewas still bitter in my mouth. Truyện ngắn hay 2002 - 2003 152 2. Chị cay đắng bật khĩc. She bitterly burst into tears. Truyện ngắn chọn lọc 2003 214 3. Anh đã nghiến răng chịu đựng bao cay đắng của đĩi nghèo. He gritted his teeth to endure the bitterness of poverty. Truyện ngắn chọn lọc 2003 360 4. Cố giấu sự cay đắng, nhưng chưa kịp nĩi hết câu thì ơng đội cải cách đứng phắt dậy, đập bàn đánh rầm một cái, bát nước chè xanh hắt tung lên, rơi xuống nền đất. Trying to hide the bitterness, but not having finished the sentence, the man from the reform team stood up quicklyand beat a table once; a bowl of green tea was tossed up andfell to the ground. Hoa cúc nâu 11 5. Và ơng thấy lịng trào lên nỗi đắng cay. And he felt the bitter nesssurge. Truyện ngắn hay 2007 73 PL 103 6. Hắn âm thầm cay đắng nghĩ, He thought silently bitterly Rừng khát 19 7. Tồn cay nhất là việc chị Hồng vay Tồn mười lăm triệu, hẹn hai tháng sau sẽ trả. Ton was the most bitter when sister Hong borrowed Ton fifteen million andpromised to pay after two months. Rừng khát 49 8. Chua xĩt vì tơi vốn sinh ra ở một vùng đất cổ lề lối vốn rất rõ ràng. I felt bitter for I was born in a place where traditional rules and custom are very clear. Truyện ngắn chọn lọc 2003 383 9. Lành gặp Cúc ngay từ buổi đầu trong nỗi chua cay. Lanh met Cuc met right from the first time in the status of bitterness. Hoa cúc nâu 236 10. Đắng lịng lắm. How bitter it is! Truyện ngắn hay 2007 136 11. Bác mời em đến nhà mà cứ nĩi cơng việc như thế thì uống vào đắng họng lắm! You invited me to your house but if you just keep talking about work like that, I feel like drinking bitterness! Rừng khát 149 12. Cĩ cái gì đăng đắng thấm sũng trong hồn cốt Tụ. There is something bitter soaked in the soul of Tụ. Truyện ngắn hay 2007 268 13. Gã cười nhạt. He sneered. Truyện ngắn hay 2007 8 14. Mày đúng là mọt sách, đọc báo lá cải nhiều quá rồi đấy em - Tú khỉ cười nhạt. ‘You're exactly a bookworm, that’s so much for you to read a rag - Tu ‘monkey’ laughedtastelessly.’ Săn cá thần 99 15. Hắn cười nhạt. He smiled faintly. Truyện ngắn hay 2010 206 16. Ơng Phổ Linh mỉm cười chua chát. Mr. Pho Linh smiled bitterly. Truyện ngắn đặc sắc 2011 308 4. THING IS TASTE 1. Một thứ tình bạn dai dẳng, đượm vì đắng chát. A persistent friendship, torn by bitterness. Truyện ngắn hay 2002 - 2003 69 2. Một cuộc đời mà bây giờ mỗi lần nhớ đến chị lại như cảm thấy vị đắng chát của nĩ. It is a life that now every time she remembered it, she again seemed to feel its bitterness. Chim én bay 16 3. Sau này, chị cũng gặp một đem Later, she also encountered Chim én 132 PL 104 mưa thật dữ dội, độc ác, nhưng ở vào một hồn cảnh cay đắng khác. another heavy and cruel night rain, but in another bitter situation. bay 4. Chị nhớ khuơn mặt anh Cường, một khuơn mặt vừa biểu lộ sự liều lĩnh, vừa biểu lộ sự bất lực chua chát. She remembers Cuong's face, a face that has shown recklessness as well as a bitter powerlessness. Chim én bay 154 5. Nĩi chính xác phải là tơi đã cĩ một cơn ác mộng tồi tệ, nhưng lại giống y hệt giấc mơ ngọt ngào của nĩ. To be exact, I had a terrible nightmare, but it was exactly like his sweetdream. Săn cá thần 75 6. Điều khơng hề biết hương vị tình yêu ngọt ngào thế nào. Điều does not know how sweet love is. Rừng khát 106 7. Ngon thế bọn buơn đất ngồi phố nĩ đã đổ về rồi. If it was that delicious, the real estate agents in the citywould already flock here. Truyện ngắn hay 2010 78 5. HUMAN IS TASTE 1. Cúc ngọt ngào. Cuc is sweet. Hoa cúc nâu 119 2. Tất cả nhân viên quán cà phê bỏ dở việc quay sang nhìn chúng tơi như hai thằng dở người. All staff of the café stopped working to turn to look at us as two bad (not delicious) men. Săn cá thần 77 3. Chị ở thế thượng phong cĩ quyền xỉ vả người đàn bà kia bằng tất cả những lời lẽ của một người đàn bà chanh chua. She is on the upper position, so she has the right to revile the other woman with all words of a sourwoman. Truyện ngắn đặc sắc 2011 103

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