Journal articles on the topic 'Vietnamese fictions'
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1
Dewi, Novita. "RIVER, RESISTANCE AND WOMEN’S RESILIENCE IN INDONESIAN, MALAYSIAN AND VIETNAMESE FICTIONS." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 15, no. 1 (July 2, 2020): 1–10. http://dx.doi.org/10.18860/ling.v15i1.7487.
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This study looks at how rivers, resistance and women’s struggle intertwine with each other in 3 fictions set in, respectively, Indonesia, Malaysia and Vietnam. Not only has a river become life-giving forces, but it is also a locus of diverse social conflicts where women are often the most victimized yet survived. Making use of ecofeminism and related theoretical concepts such as Pope Francis’ encyclical Laudato si’ on the environment and human ecology, this study examines the female characters and their ordeals in the three fictions discussed. This study reveals that first, ecological economy depends on water sustainability where women try very hard to protect nature against degradation. Secondly, abuse of women is seen in parallel with abuse of nature. In the end, this study concludes that the women’ resistance against patriarchy confirms the theoretical relevance of ecofeminism for the reading of Southeast Asian fictions.
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Anh Quang, Phan. "From Print Texts to Online Gaming: The Cross-Cultural History of Wuxia Fictions in Vietnam." SAGE Open 11, no. 2 (April 2021): 215824402110213. http://dx.doi.org/10.1177/21582440211021392.
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The popularization of online gaming in Vietnam, including PC and mobile gaming, has witnessed the contribution of wuxia fictions as an essential aspect of digital content production. This article shows an attempt in tracing the cultural history of wuxia works in Vietnam. East-West differences have also been taken into consideration as a way to explain reading and playing preferences. By using life course approach along with the concepts of nostalgia and cultural proximity, this study tries to historically portray the wuxia readership in Vietnam and its vestige found in wuxia online games. The findings indicate that wuxia novels serve as a crucial factor representing the literary relationship between the Sinosphere and Vietnam. Its presence has enriched the content of Vietnamese literature, adding a new genre that has been widely accepted by many generations of Vietnamese readers. Because wuxia online games could be seen as the digital continuation of wuxia fictions, the author argues that prior experience drawn from interacting with wuxia novels affects the game selection-making process of players, and gaming companies in Vietnam also acknowledge that and deploy appropriate business strategies.
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Vo, Nhon Van. "TRANSLATED LITERATURE IN COCHINCHINA IN THE LATE 19th CENTURY AND IN THE EARLY 20th CENTURY." Science and Technology Development Journal 13, no. 1 (March 30, 2010): 5–12. http://dx.doi.org/10.32508/stdj.v13i1.2099.
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Being colonized by France, Cocochina (the South of Vietnam) was the region where Western literature was introduced into earlier than the North. Truong Minh Ky was considered the first translator of Western literature in Vietnam. His earliest works of translation appeared in 1884. By the early 20th century, introduced to Vietnamese readers were Western literary works not only of French origin but also of British, American and Russian origins; not only poetry, prose but also drama. In the late 19th century, many writers such as Truong Vinh Ky, Huynh Tinh Cua were interested in Chinese literature. In the first decade of the 20th century, a wide variety of Chinese novels were translated into Vietnamese, forming a strong movement of translating "truyen Tau” (Chinese fictions). The remarkable characteristics of the translation of Western literature in Cochinchina were as follows - The newspapers and magazines in “Quoc Ngu” (Vietnamese language written in Latin characters) where the first works of translation were published played very important role. - The translators were greatly diverse, coming from different social and cultural backgrounds. - More translation was made on prose. Novels of martial arts, historical stories, novels of heroic deeds attracted the attention of the translators and the publishers. Therefore, they were translated much more than romance novels were, because of their compatibility with popular audience. - By translating the works of Western literature, the writers tried to express new concepts of humanism, such as women rights, or gender issues. Translated literature in Cocochina in the late 19th and early 20th centuries reflects a paradox: Western influences started to leave their marks but the Chinese influence was still strongly engraved. However, this was a remarkable step in the journey of modernization of national literature. Through these early translated works, new literary genres were introduced and Vietnamese readers gradually became familiar with them. Translation experiences were the first steps for Cocochina writers to achieve thorough understanding, to learn Western writing techniques and styles, which helped them become the pioneers of new literature in Vietnam.
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Quintana-Vallejo, Ricardo. "The US as a Queer Heterotopia: Carlos Fuentes and Viet Thanh Nguyen." Chiricú Journal: Latina/o Literatures, Arts, and Cultures 7, no. 2 (March 2023): 70–89. http://dx.doi.org/10.2979/chiricu.7.2.05.
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Abstract: Does queer desire require displacement to become intelligible? Coming-of-age narrative fictions centering queer experiences, desires, and communities often set their formative processes in liminal spaces. The mobility away from home and toward queer sites is extreme when characters leave behind their countries. In the case of two short stories set in the 1970s, Carlos Fuentes's "La pena" ( La frontera de cristal , 1995) and Viet Thanh Nguyen's "The Other Man" ( The Refugees , 2017), US cities serve as the sites where two young migrants undergoing processes of self-exploration face experiences of cultural shock that force them to reevaluate their assumptions about their sexuality. Their struggles overlap with their negotiation of their national identities: how can they desire same-sex partners and be Mexican or Vietnamese? This study analyzes the formative processes of two young men as they identify (and disidentify) with the heteronormative expectations of their cultures of origin and within the US.
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Hallinger, Philip, Allan Walker, and Gian Tu Trung. "Making sense of images of fact and fiction." Journal of Educational Administration 53, no. 4 (July 6, 2015): 445–66. http://dx.doi.org/10.1108/jea-05-2014-0060.
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Purpose – The purpose of this paper is to review both international and domestic (i.e. Vietnamese language) journal articles and graduate theses and dissertations on educational leadership in Vietnam. The review addresses two specific goals: first, to describe and critically assess the nature of the formal knowledge base on principal leadership in Vietnam, second, to synthesize findings from the existing literature on principal leadership in Vietnam. Design/methodology/approach – The paper employed a method for conducting systematic reviews of research. The authors conducted a detailed, exhaustive search for international and “local” papers from Vietnam, yielding 120 research sources. Information from these papers was extracted and evaluated prior to analysis. Data analysis included both quantitative description of the “review database” as well as critical synthesis of substantive findings. Findings – The review supports and extends an earlier review which found that the practice of educational leadership in Vietnam remains largely “invisible” to the international community of scholars. The review also yielded a highly critical assessment of research perspectives and methods used in the “local” Vietnamese studies which comprised the bulk of the authors’ database. Synthesis of substantive findings highlighted the manner by which organizational, political, and socio-cultural forces in the Vietnamese context shapes the practice of school leadership. Research limitations/implications – First, qualitative studies are recommended that seek to describe, in-depth, the enactment of leadership in the Vietnamese context. Second, broad-scale surveys of characteristics, attitudes, and beliefs of school leaders across Vietnam are warranted. Third, the authors encourage graduate students and scholars studying school leadership in Vietnam to undertake a new generation of theory-informed studies that connect with the global literature. Practical implications – Due to the relatively weak nature of the existing knowledge base, the authors were unable to identify specific implications for leadership practice. However, practical implications are identified for developing the research capacity needed to improve research quality in Vietnam’s universities. Originality/value – This review is the first systematic review of educational leadership and management conducted of the Vietnamese literature. Moreover, the authors suggest that the review is original in its comprehensive coverage of both the local and international literature on educational leadership in Vietnam.
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Rody, Caroline. "Between “I” and “We”: Viet Thanh Nguyen's Interethnic Multitudes." PMLA/Publications of the Modern Language Association of America 133, no. 2 (March 2018): 396–405. http://dx.doi.org/10.1632/pmla.2018.133.2.396.
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The rise of an interethnic imagination in recent american literature has been remaking what we think of as ethnic fiction into interethnic fiction. While memory, history, and tradition continue as shaping forces in American letters, an urge toward encounter with others is vividly reworking fictional structures, plots, casts of characters, and uses of language, as well as social visions, literary ambitions, and currents of intertextual influence. In some cases, the mind of a protagonist or narrator, indeed the very mind of a text, comes to seem the site of a momentous encounter of peoples, a living human nexus (Rody). Such is the case in the fiction of Viet Thanh Nguyen, in which the interethnic impulse generates a remarkable pronominal drama, a performance that oscillates between a narratorial “I” and a “we” to negotiate—across the pain and struggle of war, dislocation, and immigrant Americanization and across disparate political and literary allegiances—a Vietnamese American voice.
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Tam, Hao Jun. "Diasporic South Vietnam." Journal of Vietnamese Studies 15, no. 2 (2020): 40–86. http://dx.doi.org/10.1525/vs.2020.15.2.40.
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As Vietnam was caught in wartime narrative austerity from the 1950s to the 1970s, followed by the communist state’s intolerance of dissent, Vietnamese writers in the French and American diaspora have offered literary texts that challenge both Vietnamese discursive stricture and dominant perspectives in France and the United States. This essay studies two novel sequences from the diasporic Vietnamese literary archive: Vietnamese French author Ly Thu Ho’s trilogy and Vietnamese American writer Lan Cao’s pair of historical novels. Taking a historicist approach, the essay reveals complex nationalist expressions, aspirations, challenges, and desires in Ly Thu Ho’s and Lan Cao’s works of fiction.
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Pham, Hoa. "We are Vietnamese. A Reflection on Being Vietnamese-Australian." PORTAL Journal of Multidisciplinary International Studies 15, no. 1-2 (June 26, 2018): 87–91. http://dx.doi.org/10.5130/portal.v15i1-2.5733.
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We are Vietnamese - A reflection on being Vietnamese-Australian is a creative non fiction piece concerning being a Vietnamese-Australian author in the present day. It explores Hoa’s meeting with Pham Thi Hoai, a Vietnamese author in exile in Berlin, and her encounters with Thich Nhat Hanh the Vietnamese Zen Master. It also interrogates the cultural perceptions of Vietnam in Australia and Hoa’s own subject position as a published Asian Australian author.
We are Vietnamese - A reflection on being Vietnamese-Australian est un essais sur ce que signifie être un auteur australo-vietnamien aujourd’hui. Il explore deux rencontres marquantes de l’auteure : l’une avec Pham Thi Hoai, une écrivaine vietnamienne en exile à Berlin, et l’autre avec Thich Nhat Hanh, le grand maître zen vietnamien. Il remet aussi en question les perceptions culturelles du Vietnam en Australie et la propre situation de Hoa en tant qu’auteure autralo-vietnamienne.
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Vinh, Nguyễn Quốc. "Cultural Ambiguity in Contemporary Vietnamese Representations of Homosexuality." Journal of Vietnamese Studies 10, no. 3 (2015): 48–86. http://dx.doi.org/10.1525/jvs.2015.10.3.48.
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Starting from an anecdote about wild dogs in a 1939 short story by Xuân Diệu, I want to pursue a New Historicist reading of Bùi Anh Tấn’s fiction to explore present-day representations of the homosexual outcast in a hetero-normative world of contemporary Vietnam. Despite the author’s humane and positive viewpoint, his fiction remains fraught with cultural ambiguity embedded in strategies of narrative discipline of its subject matter. I will also reflect upon my own autobiographical role as interpreter of these texts, as well as theoretical issues concerning the applicability of a New Historicist practice to Vietnamese literary studies.
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Larin, Vadim. "Vietnamese Fiction Today and Russian Literature in Vietnam." Problemy dalnego vostoka, no. 6 (2020): 175. http://dx.doi.org/10.31857/s013128120012886-5.
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Nguyen, Duy Lap. "Sovereignty, Surveillance, and Spectacle in South Vietnamese Spy Fiction." positions: asia critique 26, no. 1 (February 1, 2018): 111–50. http://dx.doi.org/10.1215/10679847-4263128.
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Thu-Hương, Nguyễn-Võõ. "History Interrupted: Life after Material Death in South Vietnamese and Diasporic Works of Fiction." Journal of Vietnamese Studies 3, no. 1 (2008): 1–35. http://dx.doi.org/10.1525/vs.2008.3.1.1.
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The article uses Derrida's spectrality to look at magical realism in South Vietnamese and diasporic literature in Vietnamese. Diasporic literature has been said to be either a simple extension of literature from the Republic of Vietnam or a drastic break, with its prevalent use of magic. The article argues instead that the very disruption of the history of the South is the creative force behind both. It is the death of the South foretold that animated Republican writing. And it is the death of the South that forces the symbolization of history in the new global economic context of diasporic fiction.
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Nguyen, Van Thi Ngoc, and Nam Thi Phuong Nguyen. "Effects perceived by Vietnamese B1 EFL students of extensive reading on intercultural competence." HO CHI MINH CITY OPEN UNIVERSITY JOURNAL OF SCIENCE - SOCIAL SCIENCES 14, no. 2 (March 15, 2024): 65–73. http://dx.doi.org/10.46223/hcmcoujs.soci.en.14.2.2746.2024.
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Investigation of effective approaches for supporting students’ linguistic and intercultural competence in the process of learning English as an international lingua franca has generally been an issue of great concern for teachers and researchers in language education. The study considered how fiction reading and non-fiction reading supported students’ reading comprehension and fostered their self-perception of intercultural competence. The scaffolds were tested in a pretest-posttest design on 58 participants, and in a classroom-based setting. Two measurement instruments included a reading comprehension test and a questionnaire on students’ self-perception of their intercultural competence. Both groups made significant progress in reading comprehension. Fiction reading condition was also found to contribute to the higher self-perception of intercultural competence. Discussion of the pros and cons of the experimental design and suggestions for further research into extensive reading and speech act appropriateness are in the last part of the paper. The paper finally puts forward the suggestion that short literary texts of cultures around the world might be considered as one of the meaningful inputs in B1 EFL classrooms.
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Dror, Olga. "Doàn thi Diêm's ‘Story of the Vân Cát Goddess’ as a Story of Emancipation." Journal of Southeast Asian Studies 33, no. 1 (February 2002): 63–76. http://dx.doi.org/10.1017/s0022463402000036.
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Most of the stories we know about the Vietnamese goddess Liêu Hanh derive from Doàn thi Diêm's story Vân Cát Thân Nũ Truyên. This article analyses the story, arguing that in fact it is a piece of fiction which reflects the author's views, experiences and aspirations for greater freedom for women.
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Beard, David. "How Can You Not Shout, Now That the Whispering Is Done? Accounts of the Enemy in US, Hmong, and Vietnamese Soldiers’ Literary Reflections on the War." Humanities 8, no. 4 (November 1, 2019): 172. http://dx.doi.org/10.3390/h8040172.
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As typified in the Christmas Truce, soldiers commiserate as they see themselves in the enemy and experience empathy. Commiseration is the first step in breaking down the rhetorical construction of enemyship that acts upon soldiers and which prevents reconciliation and healing. This essay proceeds in three steps. We will identify first the diverse forms of enemyship held by the American, by the North Vietnamese, and by the Hmong soldiers, reading political discourse, poetry, and fiction to uncover the rhetorical constructions of the enemy. We will talk about both an American account and a North Vietnamese account of commiseration, when a soldier looks at the enemy with compassion rooted in identification. Commiseration is fleeting; reconciliation and healing must follow, and so finally, we will look at some of the moments of reconciliation, after the war, in which Vietnamese, Hmong and American soldiers (and their children and grandchildren) find healing.
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Хuyến, Trầnthị. "COMPARATIVE CHARACTERISTICS OF MEANS OF NON-VERBAL COMMUNICATION IN UKRAINIAN AND VIETNAMESE CULTURES (ON THE MATERIAL OF A FILM STORY «POEM ABOUT THE SEA» BY O. P. DOVZHENKO)." Scientific Research Issues of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2023, no. 37 (December 2023): 93–107. http://dx.doi.org/10.24195/2616-5317-2023-37-7.
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The purpose of this article is to identify and compare non-verbal means of communication in Ukrainian and Vietnamese traditions based on the film story «Poem about the Sea» by O. P. Dovzhenko and its translation into Vietnamese. The object of the research is linguistic units indicating non-verbal behavior in Ukrainian and Vietnamese traditions, as presented in this film and its Vietnamese translation. The subject of the research is the general and personal features of perception and the use of gestures, facial expressions, gaze, intona- tions, and other non-verbal means in the process of communication. Compara- tive, semantic, cognitive, linguistic, and cultural analyses, paraverbal analysis, and the descriptive method are applied. As a result, their pragmatic meanings were determined, signs of similarities and differences, features of translation, and correlations based on the level of equivalence in artistic works were identified. A number of equivalent, background, and non-equivalent means in Ukrainian and Vietnamese languages were revealed. Conclusions and prospects of the study. Non-verbal language reflects the national character and each nation can have its own characteristics. In the works of fiction, the translator and the editor tried to convey the non-verbal behavior of the characters in such a way that the equiva- lent situations and units that most adequately convey the behavior of people of another culture in the Vietnamese language prevailed. The linguistic realiza- tion of non-verbal means is described by means of verbal means such as verbs, nouns, adjectives and adverbs, and accompanied by epithets, metaphors, idioms and punctuation marks. Understanding the ethnocultural features of non-verbal language is necessary for an adequate understanding of Ukrainian-Vietnamese communication and for those who work on translations of literary texts from Ukrainian to Vietnamese and vice versa. In today’s world, this field of research is becoming more and more relevant and promising
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Anh, Thai Phan Vang. "CONTEMPORARY VIETNAMESE FICTION WRITTEN ABOUT THE WAR FROM THE GENDER PERSPECTIVE." Bahasa dan Seni: Jurnal Bahasa, Sastra, Seni dan Pengajarannya 44, no. 1 (February 1, 2016): 010–17. http://dx.doi.org/10.17977/um015v44i12016p010.
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Healy, Dana. "From Triumph to Tragedy: Visualizing War in Vietnamese Film and Fiction." South East Asia Research 18, no. 2 (June 2010): 325–47. http://dx.doi.org/10.5367/000000010791513175.
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Trần Thị, Xuyến. "KINESICAL MEANS OF NONVERBAL COMMUNICATION OF CHARACTERS IN POLISH AND VIETNAMESE LINGUOCULTURES (BASED ON POLISH-VIETNAMESE LITERARY TRANSLATIONS)." Мова, no. 40 (November 14, 2023): 37–42. http://dx.doi.org/10.18524/2307-4558.2023.40.300476.
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The purpose of this study is to identify ways to represent nonverbal communicative behavior of characters in literary translations from Polish to Vietnamese. The object of study is the identical, similar and distinctive features of kinetic nonverbal communicative behavior that characterize Poles and Vietnamese. Several original Polish fiction narrative texts by Eliza Orzeszkowa and Bolesław Prus and their translations into Vietnamese were selected as the research material. The result of the study is some observations highlighted in the presentation of the main material of the article and its conclusions. A comparative analysis of the kinesical means of communication of characters shows that nonverbal means of communication can have a universal, socially defined and nationally defined functioning. Most units of sign and facial language in the Polish and Vietnamese linguocultural spaces are equivalent. There are also background and nonequivalent kinesical means of communication. The identified markers of non-verbal behaviour of characters are determined by their social status in society based on age, gender, class affiliation, and profession. There are also representatives of the historical era. Some of fixed means are outdated, as they cover social relations in Polish society at the end of the XIX — beginning of the XX century. Universal in chronology of functioning are, for the most part, non-verbal means that indicate the intellectual level of characters and the emotional state of the individual.
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Byford, Jeffrey M., Sean M. Lennon, Nguyen Ngoc Anh, Sherrie Hopper, and Dang Thi Vuong Nga. "The Wounded Prisoner: A Comparative Study on American and Vietnamese Students’ Perceptions of Moral Dilemmas." Political Crossroads 24, no. 1 (September 1, 2020): 5–21. http://dx.doi.org/10.7459/pc/24.1.02.
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Throughout time, both American and Vietnamese educators have sought ways to teach both the complexity of war and the ability to teach contradicting views when presented in moral dilemmas. As the year's pass and political and economic relations between the two countries grow, the exploration of war-related moral dilemmas, which unfolded during the Vietnam War, is openly discussed and encouraged. Despite not directly affected by the war, students from both countries have differing interpretations, expressing an individual and potentially contradicting view and perception when presented in the form of a moral dilemma. This research intended to investigate how American and Vietnamese students’ reasons and reactions to a war-related moral dilemma through a fictional wartime scenario. Integrating the cognitive and affective domains through historical empathy, the study suggested that while both American and Vietnamese often selected morally ‘easy’ or popular choices amongst their peers, some students experienced great difficulty justifying their actions.
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Gelfant, Blanche H. "Beauty and Nightmare in Vietnam War Fiction." Prospects 30 (October 2005): 751–78. http://dx.doi.org/10.1017/s0361233300002258.
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“Hue is the most beautiful city in the world,” a Vietnamese woman tells Marine Lieutenant Kramer, a central character in Robert Roth's Vietnam War novel,Sand in the Wind. Published in 1973, five years after the sweeping Tet Offensive had reduced Hue to rubble,Sand in the Windset the city within a complex meditation upon beauty and its relation to human desire, history, the vagaries of chance, ephemerality of happiness, and ineluctability of loss. Though ambitious in intent,Sand in the Windhas not been widely acclaimed. Except for John Hellmann's close reading, it has usually been referred to passingly or overlooked. Thomas Myers dismissed it as a “sterile mural,” a static work fixed upon a wall. I prefer to think of it as “walking point” — an action Myers ascribed to Vietnam War fiction he endorsed for “cutting trails” (227). Like the pointman of a patrol who clears a path for others to follow, the Vietnam War novel, Myers argued, opened a way into tangled historic territory — the territory of war now inhabited by literature. I propose to enter this forbidding area throughSand in the Wind, for I believe that like the novels Myers lauded it too secures a way, a unique way, of engaging safely with the Vietnam War and the losses it entailed.The lives of an estimated 5,713 soldiers, American and Vietnamese, were lost in the battle at Hue, as were almost 3,000 civilian lives. That the “longest and bloodiest” battle of the Offensive took place in Hue during the festive days of Tet was particularly shocking, for Hue was commonly considered an open city, and Tet, the lunar New Year, a time of peace and renewal. Traditionally, Tet Nguyen Dan ushered in the new year with three days of festivity, days of respite during which communal bonds were strengthened. Family members and their relatives renewed the bond of blood by gathering together for an exchange of gifts and good wishes; ancestral bonds were renewed by visits to family graves. Rice farmers plowing their paddies renewed the bond between man and nature.
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Tu, Tran Cam. "The Image of “Opening and Changing” Vietnam in Thai Contemporary Fiction Books." Manusya: Journal of Humanities 23, no. 1 (March 21, 2020): 127–46. http://dx.doi.org/10.1163/26659077-02301007.
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As Thailand and Vietnam have long had mutual relations, there are a number of Thai books written about Vietnam, including academic and historical documents, travelogues, novels, and short stories. This paper examines works of contemporary Thai fiction to present a new and outstanding image of Vietnam in a Thai perception – an “opening and changing” country – from factual data and from literary textual analysis. First, it provides readers with the socio-historical background of the Renovation Era of Vietnam after 1986 and the Thai-Vietnamese relationship. Next, the main part explains how the image of “opening and changing” Vietnam is portrayed through four aspects: (1) physical changes in landscape, cityscape, and economic development; (2) changes in lifestyle and traditions; (3) openness in political views and international relations; and (4) changes in social structures and values. Lastly, the paper will discuss the novelty of this image compared with that of earlier Thai literature and other contemporary books, as well as the factors contributing to this image. Overall, the image of Vietnam in transition is not static but has developed dynamically from the early phase to the later stage of the reform process. Images of a “changing and opening” Vietnam portrayed in Thai contemporary fiction reflect the changes of Vietnam itself, the development of Thai-Vietnamese relations, and the Thai perception of Vietnam under a new historical context.
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Nguyen, Thi Mai Lien. "Transformation of French literature into Ho Bieu Chanh’s work from the perspective of the polysystem theory." Ministry of Science and Technology, Vietnam 66, no. 1 (April 20, 2024): 96–108. http://dx.doi.org/10.31276/vmostjossh.66(1).96-108.
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Around the middle of the 17th century, the national language script was born and developed thanks to the merits of Western missionaries such as G.D. Amaral and A. Barbosa (Portugal); A.D. Rhodes (France). However, Catholic literature in Vietnam over the next 200 years was still mainly written in Nom, Chinese, or Latin. When the French tried to consolidate their rule in Vietnam, the Quoc Ngu script was made official throughout Vietnam in the early 20th century in order to eliminate the influence of anti-French Confucianism in Vietnam. Among the writers of this period, Ho Bieu Chanh was the most successful. Commenting on Ho Bieu Chanh’s position in Vietnamese literature, the book Vietnamese Literature from the beginning of the 20th century to 1945 by the Publishing House of the University of Pedagogy wrote: “Ho Bieu Chanh is a pioneer writer of modern fiction. Vietnam in the first steps before the period of prosperity (since 1932) and also a strong writer with many merits. Ho Bieu Chanh’s novel has contributed significantly to the preparation for the formation of critical realism in Vietnamese literature in the following decade” [1]. This article studies Ho Bieu Chanh’s work as a case of how Vietnamese intellectuals received creatively French literature in particular and Western culture in general. This research inspects Ho Bieu Chanh’s works from the perspective of the polysystem theory to find out the acquisition of French literature as well as the author’s creativity in comparison with the original ones. As a result, the contribution of Ho Bieu Chanh in modernizing Vietnamese literature and his success will be affirmed.
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Xiang, Sunny. "The Ethnic Author Represents the Body Count." PMLA/Publications of the Modern Language Association of America 133, no. 2 (March 2018): 420–27. http://dx.doi.org/10.1632/pmla.2018.133.2.420.
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Reviews of viet thanh nguyen's the sympathizer (2015) regularly cite the vietnamese-french-american protagonist's self-characterization: “I am a spy, a sleeper, a spook, a man of two faces” (1). A less-cited version of the same characterization appears later in the novel: “I am a lie, a keeper, a book. No! I am a fly, a creeper, a gook. No! I am—I am—I am—” (325). Nguyen's unnamed narrator, a Northern Vietnamese spy with Southern sympathies, has exploited, betrayed, and even murdered his own. If the above statements are any indication, this Cold War history of slippery allegiances takes an existential toll. But the second statement adds a layer of intrigue. With rhyme, anaphora, and considerable theatrical aplomb, it transmutes ethnic duplicity into literary figuration and casts the narrator as another murderer with a fancy prose style. Murder and style, though, are not Nguyen's only connection to Vladimir Nabokov, whom Mark McGurl takes as iconic of the “codification and intensification of modernist reflexivity in the form of … ‘metafiction’” (9). Like Lolita and much of Nabokov's other fiction, The Sympathizer and many of Nguyen's writings hold up that special mirror of “modernist reflexivity.” For Nguyen, however, the chance to wield this mirror comes with the added responsibility of being a Vietnamese American author writing about Vietnamese America. Hence, if Nabokov's iction delivered “an elaborately performative ‘I am’” that enabled his “programmatic self-establishment” (10), Nguyen's equally performative “I am” instantiates not only an authorial program but also a political program of ethnic representation.
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Như-Quỳnh, Cao Thị, and John C. Schafer. "From Verse Narrative to Novel: The Development of Prose Fiction in Vietnam." Journal of Asian Studies 47, no. 4 (November 1988): 756–77. http://dx.doi.org/10.2307/2057851.
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When Hoàng Ngọc Phàch, a young Vietnamese living in Hanoi, published Tô' Tâm (Pure heart) in 1925, his book immediately became a cause célèbre. The first three thousand copies sold out in two weeks. The publisher printed another two thousand copies, and they too quickly disappeared from the bookstores (Phan Cự Dệ 1974:21). Girls disappointed in love succumbed to the influence of the work and committed suicide by jumping into Lake Tây or Lake Trùe Bạch. The work provoked a debate concerning what was proper reading for young women that continued into the 1930s.
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Nguyên, Đình-Hoà, Wayne Karlin, John Balaban, and Nguyên Quí Đúe. "The Other Side of Heaven: Post-War Fiction by Vietnamese & American Writers." World Literature Today 71, no. 2 (1997): 468. http://dx.doi.org/10.2307/40153270.
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Mahini, Ramtin Noor-Tehrani (Noor), Erin Barth, and Jed Morrow. "Tim O’Brien’s “Bad” Vietnam War: Going after Cacciato & Its Historical Perspective." Theory and Practice in Language Studies 8, no. 11 (November 1, 2018): 1397. http://dx.doi.org/10.17507/tpls.0811.03.
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Being the only Vietnam War author on the English curriculum for American middle and high schools, Tim O’Brien skillfully mixes his real wartime experience with fiction in his various bestsellers and awarded novels. All O'Brien's Vietnam War stories are always "bad," meaning that the war contains mostly sad and horrific experience for American soldiers and Vietnamese civilians. A closer look at O’Brien’s war stories reveals that he indeed touches upon almost all issues the American GIs encountered during this war; nevertheless, not all online literary analysis websites and peer-reviewed authors can identify or call them all out. To assist middle and high school readers in understanding the meaning behind Tim O’Brien’s Vietnam War stories, the war details in Going After Cacciato and its historical perspective are discussed in this article. The war-related issues that O’Brien touched upon in this novel are: lack of purpose, the lower standards of the American troops (McNamara’s morons), desertion, lack of courage, friendly fire, fragging their own officers, and contemptuous attitude toward the Vietnamese, the very people they came to help and protect.
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Barnes, Leslie. "Cinema as Cultural Translation: The Production of Vietnam in Trẩn Anh Hùùng's Cyclo." Journal of Vietnamese Studies 5, no. 3 (2010): 106–28. http://dx.doi.org/10.1525/vs.2010.5.3.106.
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This article examines Trẩn Anh Hùng's Cyclo (1995) as a work of cinematic autoethnography, that is, as a record of Vietnamese culture reflected not in the "objective" detailing of behavior but in a creative assemblage, or montage, of cultural codes. After addressing the question of fiction and ethnography, I examine the film's formal translation of the verbal and nonverbal signs that traditional ethnographic approaches would conserve in written form. By encouraging confusion and ongoing creative recombination, Trẩn Anh Hùùng's film questions not only the possibility of a faithful rendering of one's culture, but the very existence of an original to be rendered.
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Young, Victoria. "Beyond “Transborder”: Tawada Yōko’s Vision of Another World Literature." Japanese Language and Literature 55, no. 1 (April 21, 2021): 1–33. http://dx.doi.org/10.5195/jll.2021.181.
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This article presents a critical examination of “transborder” literary approaches that seek to renegotiate the position of Japanese fiction within the world. The concept of transborder fiction has emerged in recent decades as a means of breaking down the boundaries of Japanese literature that assume agreement between the nationality of a writer and the language of her text. However, as it takes its cues from David Damrosch’s influential study of 2003, What is World Literature?, which suggests that literature gains in value in translation, transborder literature betrays its desires to promote Japan’s national literature in a globalising literary context. This more critical view reveals that despite their calls for greater literary diversity, transborder approaches exhibit problematic tendencies that threaten to erase the multiple flows of language and intertextuality already extant within modern Japanese fiction and turn its eye away from history. This critique is focalised through the writing of Tawada Yōko, whose prolific output of literary works and essays in Japanese and German appear to epitomise the image of transborder writing, and yet which frequently challenge these assumptions. Both the book-length essay Exophony (2003) and the Japanese novel Tabi o suru hadaka no me (2004) offer prescient critiques rooted in history that expose moments of rupture, asymmetry and untranslatability, which an emphasis on border crossings threatens to overlook. However, by choosing to peer through those gaps, guided by the latter’s Vietnamese narrator, these texts also incite hitherto unseen connections between Tawada’s Japanese fiction and the world.
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Tran, Qui-Phiet. "Writing to Remember." Journal of Vietnamese Studies 14, no. 4 (2019): 40–62. http://dx.doi.org/10.1525/vs.2019.14.4.40.
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This essay addresses the controversial reception of Bảo Ninh’s novel Nỗi buồn chiến tranh [The Sorrow of War] in Vietnam and argues that the novel was perhaps the most important fictional work since Đổi Mới [Renovation]. By overlooking the tenets of socialist realism, the book deals with the war and its aftermath with a candor, eloquence, and anguish that have no parallel in modern Vietnamese literature. The novel’s important questions—memory, time, and writing—can be explained in light of Mikhail Bakhtin’s theory of the chronotope.
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Neumann, Birgit. "“Our mother tongue, then, is no mother at all – but an orphan”: The Mother Tongue and Translation in Ocean Vuong’s On Earth We’re Briefly Gorgeous." Anglia 138, no. 2 (June 4, 2020): 277–98. http://dx.doi.org/10.1515/ang-2020-0023.
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AbstractThe essay offers a close reading of On Earth We’re Briefly Georgeous, the remarkable novel by Vietnamese American writer Ocean Vuong, showing how the text’s critical engagement with the notion of the mother tongue is used to negotiate subjectivity and community in diasporic contexts. It assesses the importance of the tongue within the broader context of contemporary migrant and transcultural fiction and reveals how the tongue functions as a trope to explore possibilities of self-articulation after the loss of the mother tongue. Further, the essay draws on the concept of translation, exposing both its violent dimensions and its liberating potential within uneven intercultural relationships. Struggling with the unavailability of his mother tongue, Vuong’s central writer-protagonist performs multiple acts of translation between the unequal languages of Vietnamese and English and reconfigures both in terms of their foreignness. These acts of translation materialize in a multilingual poetics that thoroughly unsettles the priority of closed entities and that confronts the organic genealogy inscribed in the “family romance” (Yildiz 2012: 20) of the mother tongue with open, non-identitarian modes of sociality.I would like to thank the anonymous reviewers for Anglia as well as Christina Slopek, Martin A. Kayman and Susan Winnett for generously sharing their thoughts on earlier versions of my article with me.
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Нгуен, Тхи Хоан. "THE INFLUENCE OF F. M. DOSTOEVSKY’S NOVEL “CRIME AND PUNISHMENT” ON THE WORKS OF VIETNAMESE WRITERS." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 3(112) (October 15, 2021): 60–67. http://dx.doi.org/10.37972/chgpu.2021.112.3.009.
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В статье впервые дано общее представление о влиянии «Преступления и наказания» Ф. М. Достоевского на творчество вьетнамских писателей на протяжении целого столетия. Автор обращает внимание, что роман «Преступление и наказание» занимает особое место в культурном пространстве Вьетнама, оказывая влияние на поэтику художественных произведений вьетнамских прозаиков, их мировоззренческие и эстетические ориентиры. В работе наглядно иллюстрируется процесс вхождения «Преступления и наказания» в культуру Вьетнама, который шел через творческую адаптацию романа. Автор отмечает, что сложные философские проблемы, которые поднимались в романе Ф. М. Достоевского, вызывали большой интерес у вьетнамских читателей, а у ряда вьетнамских писателей и стремление к подражанию. Исследование показало, что «Преступление и наказание» оказало заметное влияние не только на сюжет, идею художественных произведений, но и на языковой стиль многих известных вьетнамских романистов в ходе модернизации вьетнамской литературы. Интерес к роману великого русского писателя сохраняется сегодня на высоком уровне, что способствует развитию культурных связей между двумя народами. В статье делается вывод о незаменимой позиции романа «Преступление и наказание» в сердцах вьетнамских читателей. Научная новизна настоящего исследования определяется изучением творческой адаптации романа Ф. М. Достоевского в литературной практике вьетнамских художников слова на протяжении XX-XXI веков, а также обозначением различных линий в рецепции известного русского романа во Вьетнаме. Результаты исследования могут быть использованы на занятиях по истории русской и зарубежной литератур, будут интересны учителям-словесникам, а также всем увлеченным художественной литературой и культурой. The article for the first time gives a general idea of the influence of “Crime and Punishment” by F. M. Dostoevsky on the works of Vietnamese writers for a whole century. The author observes that the novel “Crime and Punishment” occupies a special place in the cultural space of Vietnam, influencing the poetics of the artistic works of Vietnamese prose writers, their ideological and aesthetic guidelines. The work clearly illustrates the process by which “Crime and Punishment” enters into the culture of Vietnam, which went through the creative adaptation of the novel. The author notes that the complex philosophical problems that were raised in the novel by F. M. Dostoevsky aroused great interest among Vietnamese readers, and a number of Vietnamese writers also had a desire to imitate. The study showed that “Crime and Punishment” had a noticeable impact not only on the plot, the idea of literary works, but also on the language style of many famous Vietnamese novelists during the modernization of Vietnamese literature. Interest in the novel of the great Russian writer remains today at a high level, which contributes to the development of cultural ties between the two peoples. The article concludes about the irreplaceable position of the novel “Crime and Punishment” in the hearts of Vietnamese readers. The scientific novelty of this study is determined by the study of the creative adaptation of the novel by F. M. Dostoevsky in the literary practice of Vietnamese authors during the 20th-21st centuries, as well as the designation of various lines in the reception of the famous Russian novel in Vietnam. The results of the research can be used in classes on the history of Russian and foreign literature, and will be of interest to teachers of literature as well as to all those who are interested in fiction and culture.
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Rocha, Luiz Carlos Moreira da. "The Tet Offensive and the Battle of Khe Sahn as a Watershed of the Vietnam War: Michael Herr's Dispatches." Aletria: Revista de Estudos de Literatura 23, no. 2 (August 30, 2013): 65–76. http://dx.doi.org/10.17851/2317-2096.23.2.65-76.
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The literature of war, independently of genre, tends to record the causes of the conflict, which are generally political and economic. But, it also tends to appoint a kind of aesthetics of reception, in other words, how the conflict is felt and registered by the experiences of the individual, whether soldier, writer, journalist or common reader. In Dispatches, the fantasies of the grunts, the allusions to the theory of dominoes, the necessity to win the hearts and minds of the Vietnamese people, and the role of the press are condensed in this remarkable non-fictional narrative.
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Stecopoulos, Harilaos. "Locating the Global South: Faulkner and Wright in Postwar Asia." Prospects 28 (October 2004): 465–96. http://dx.doi.org/10.1017/s0361233300001575.
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Of all the disturbing scenes to appear in The Ugly American (1958), William J. Lederer and Eugene Burdick's fictional account of U.S. foreign policy in Asia, none is more unnerving than the depiction of two French Foreign Legionnaires — one African American, one Vietnamese — returning from an ill-fated attempt to scout the Communist Vietnamese position:Davis was leading Apache. From fifty yards they could see that there was a gout of blood on Davis's cheek. At twenty-five yards they could see the mangled remains of his left eye, hanging in a cluster of tiny glistening cords and muscles…. “They caught us, Major,” Davis said. “There has to be a first time for everything and this time they caught us.” …Davis reached over and pulled Apache's hand away from his throat. Squarely in the center of his throat there was a twisted hole. Far back in the hole the muscles and cords of his neck glistened. (130–31)The anti-Communist bonding of the African-American Davis and the Vietnamese “Apache” — the only such interracial union depicted in The Ugly American — ends with the physical mutilation and symbolic castration of each man, one denuded of his voice, the other of his eye. In part, the horrific results of Apache and Davis's capture reveal the Communists' brutal refusal to allow locals to ally themselves with foreigners of any color. As Davis puts it, “They left my right eye so that we could find our way back and show ourselves as a lesson to others” (131).
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Mahini, Ramtin Noor-Tehrani (Noor), Erin Barth, and Jed Morrow. "Tim O’Brien’s “Bad” Vietnam War: The Things They Carried & Its Historical Perspective." Theory and Practice in Language Studies 8, no. 10 (October 1, 2018): 1283. http://dx.doi.org/10.17507/tpls.0810.05.
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Tim O’Brien was sent to Vietnam as a foot soldier in 1969, during the later part of the Vietnam War that can be called the “bad” or unwinnable war. Based on his experience, O'Brien's writing about the Vietnam War in his award-winning fiction novels is always "bad," meaning that the war was terrible for American grunts like himself, his fellow soldiers, and Vietnamese civilians, with practically no good or inspiring stories. Nevertheless, O’Brien touches upon almost all problems of American soldiers in the Vietnam War, but not many peer-reviewed authors or online literary analysis websites could identify or discuss them all. The purpose of this article is to discuss the war details in O’Brien’s The Things They Carried and its historical perspective, so that young middle and high school readers can understand the meaning behind Tim O'Brien's writing about the Vietnam War. The goal is to summarize the entire big picture of the Vietnam War and to help students determine whether American soldiers’ actions, as described by Tim O’Brien, were morally right or wrong and were legal or forbidden according to the US law of war. The war-related issues that O’Brien mentioned in this novel are: boredom and meaningless death, abusive violence toward Vietnamese noncombatants, drug use, in-fighting, thefts within barracks, grief, rage, self-mutilation, mutilation of enemy corpses, and senseless animal and civilian killings.
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Kurmann, Alexandra, and Tess Do. "Children on the Boat: The Recuperative Work of Postmemory in Short Fiction of the Vietnamese Diaspora." Comparative Literature 70, no. 2 (June 1, 2018): 218–34. http://dx.doi.org/10.1215/00104124-6817419.
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Thi Phuong Mai, HO. "VẤN ĐỀ XÁC LẬP VỊ TRÍ ĐẶC THÙ CỦA NGƯỜI TRÍ THỨC TRONG TIỂU THUYẾT MA VĂN KHÁNG." Vinh University Journal of Science 52, no. 4B (December 20, 2023): 38–44. http://dx.doi.org/10.56824/vujs.2023b062.
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Ma Van Khang is a prominent novelist who has made significant contributions by delving into the subject of intellectuals. The author often contemplates the role of intellectuals in the society. There have been numerous research works on this central theme in Ma Van Khang's novels, and they have provided valuable assessments. However, interpreting Ma Van Khang's artistic choices and the depth of his perspective on the issues he addresses continue to provoke discussions. By situating Ma Van Khang's novels within the broader context of the fluctuating currents of modern Vietnamese fiction that focus on intellectuals and by examining the author's consciousness of the dynamic relationship between literature and life, this article contributes to explaining why the issues raised in the writer's works and the way he presents them have garnered positive responses from readers.
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Averis, Kate. "Transposing Gender in the Diaspora: Linda Lê’s Les aubes (2000) and In memoriam (2007)." PORTAL Journal of Multidisciplinary International Studies 15, no. 1-2 (May 29, 2018): 31–42. http://dx.doi.org/10.5130/portal.v15i1-2.5735.
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Linda Lê’s is one of the most resonant voices of the Vietnamese diaspora in Francophone writing, and her works are frequently read through the lens of exile and encounter with the other. While not engaging with explicit representations of the diasporic experience, Lê’s fictional and non-fictional texts are profoundly marked by the dislocation and alienation associated with the experience. This article considers the ways in which Linda Lê’s fictional writing surpasses the author’s own particular experience of the Vietnamese diaspora to offer a literary universe in which the disruptions of diaspora are expressed through the depiction of resistant modes of being and belonging. Focusing on two recent novels, Les aubes (2000) and In memoriam (2007), this article analyses Lê’s resistant construction of femininity, arguing that it is prompted and even enabled by the necessary transitions and transpositions of the diasporic experience. Through an examination of the sisterly solidarity, gender alterity and (in)corporeality that are foregrounded in these novels, the analysis explores Lê’s intratextual disruption of inherited models of femininity and modes of participation in domestic and sexual relationships, and draws a link with Lê’s extratextual literary universe to reveal the feminist ethics that underpins her resistance to gendered hierarchies.
La voix de Linda Lê est l’une des plus significatives de la diaspora vietnamienne dans la littérature francophone et ses œuvres sont fréquemment lues dans l’optique de l’exil et de la rencontre avec l’autre. En contournant la représentation explicite de l’expérience diasporique, ses textes autant fictionnels que non-fictionnels sont néanmoins profondément marqués par les ruptures et l’aliénation de cette expérience. Cet article examine la manière dont l’écriture fictionnelle de Linda Lê dépasse la propre expérience que l’auteure a fait de la diaspora vietnamienne, pour construire un univers littéraire dans lequel les heurts de l’expérience se traduisent par des modes d’être et d’appartenir contestataires. Tout en se concentrant sur la construction de la féminité résistante dans deux romans récents, Les aubes (2000) et In memoriam (2007), l’article avance l’idée que se sont les transitions et transpositions imposées par l’expérience diasporique qui l’ont rendue non seulement possible mais nécessaire. À travers l’étude de la solidarité sororale, l’altérité sexuelle et l’(in)corporéité au sein de ces deux romans, cet analyse explore d’une part la contestation des modèles hérités de la féminité, et de l’autre part, le refus de participer à des relations domestiques et sexuelles conventionnelles. En conclusion, il s’attache à démontrer comment ce lien entre les féminités contestataires de cette auteure singulière et son univers littéraire intertextuel participe d’une éthique féministe qui soustend la résistance aux hiérachies genrées.
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Le Van, Tan. "The thought of serving nation and people through Doan Nguyen Tuan's Chinese poetry." Journal of Science Social Science 65, no. 8 (August 2020): 68–77. http://dx.doi.org/10.18173/2354-1067.2020-0051.
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Doan Nguyen Tuan, nick name Hai Ong, Hai Yen village, Quynh Coi district (now known as Hai An village, Quynh Nguyen commune, Quynh Phu district), Thai Binh province. He had Huong sewer following the Le Dynasty but did not work as mandarins, with Vu Huy Tan, Phan Huy Ich, Ngo Thi Nham..., he followed Tay Son. By the concept of flexible museum, Doan Nguyen Tuan pursued and persevered the path of religious practice in the disordered social condition. With more than 200 Han poems still left, Doan Nguyen Tuan had the opportunity to show quite clearly the important aspects of the content of the thought of his practice. Thus, it can be affirmed that he is one of the authors of fictional literature in the second half of the eighteenth century in particular, of Vietnamese literature in general. This is the main content we set out and solved in this article.
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Almasoudi, Ruwaida. "Posttraumatic Memories and Feelings of Guilt in Tim O'Brien's The Things They Carried." Al-Adab Journal, no. 145 (June 14, 2023): 21–32. http://dx.doi.org/10.31973/aj.v1i145.3921.
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Writing has long been related to communicating emotional experiences. One of these experiences is war, and the Vietnam War was a long brutal struggle divided into two periods. The first is called the good Vietnam War, covering the years from 1964 to 1968. The second spanned from 1968 to 1972, known as the bad Vietnam War, through which fighting turned into guerilla war. Battles of the second phase were characterized by savage killings of soldiers and mass murder of unarmed civilian Vietnamese. This bad war inspired many literary narratives in drama, fiction, and poetry. Tim O’Brien’s The Things They Carried is considered one of the most read and vivid works about this struggle. The text reflects combatants’ engagements in foreign lands and their inability to adjust to the trauma after the war is over. The paper investigates the situations of various characters in the novel and how their experiences were influential in preventing them from normally continuing with their lives. Post-traumatic memories and permanent feelings of guilt and confusion are the main obstacles veterans face preempting them from indulging once again in society.
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Moï, Anna. "Meurtres sans préméditation." PORTAL Journal of Multidisciplinary International Studies 15, no. 1-2 (June 26, 2018): 72–76. http://dx.doi.org/10.5130/portal.v15i1-2.5760.
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This essay expresses my work as a translingual novelist – immigrating from Vietnamese to French. It deals with the impossibility, as a fiction writer reborn in a new language, to recount reality, as the real world is reflected in at least two cultural zones. The use of a pseudonym is the first step to this split reality. A decision that entitles me to a new identity and one that also led to confusion when I encountered a visitor from my past mono-ethnic persona: Marcelino Truong, a French-Vietnamese painter and author of graphic novels. We had first met at the Institute of Political Sciences in Paris prior to a professional meeting twenty-five years later when both our names and careers had drastically changed. I relate to other translingual writers such as Romain Gary, a virtuoso of disguised identities who wrote novels under two different pseudonyms. The second part of the essay is an inspection of Tijana Miletic’s arguments in European literary Immigration into the French Language: Readings of Gary, Kristof, Kundera and Semprun that reflect my own experience: the themes of the double and incest pervade translingual writers’work, as they do mine.
Cet essai exprime ma perspective de romancière translingue qui passe d’une langue à l’autre, à savoir, du vietnamien au français. En tant qu’écrivaine dont la renaissance à l’écriture s’effectue dans une nouvelle langue, je constate l’impossibilité de raconter la réalité du fait que le monde réel est reflété à travers au moins deux zones culturelles. L’emploi d’un pseudonyme dans mon cas constitue le premier pas vers cette réalité divisée. C’est une décision qui m’octroie le droit à une nouvelle identité et qui mène aussi à des confusions, par exemple, lorsque je recroise sur mon chemin un visiteur de mon passé monoethnique, Marcelino Truong, un peintre et auteur graphique franco-vietnamien. Vingt-cinq ans avant cette rencontre professionnelle, nous nous sommes croisés à Sciences-Po à Paris. Nos noms et carrières ont radicalement changé depuis. Je m’associe à des écrivains translingues tels que Roman Gary, un virtuose d’identités déguisées qui publie ses romans sous deux pseudonymes différents. Dans la deuxième partie de mon essai j’examine les arguments de Tijana Miletic dans son livre European literary Immigration into the French Language : readings of Gary, Kristof, Kundera and Semprun. Ce qu’elle y décrit reflète ma propre expérience : les thèmes du double et de l’inceste imprègnent l’œuvre de ces écrivains, comme ils imprègnent la mienne.
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Lee, Geongeun. "Faction Representation Method of Sexual Assault by the U.S. Forces in the Vietnam War and Its Discourse Value." Democracy and Peace Institute, Chosun University 5, no. 1 (August 31, 2022): 45–66. http://dx.doi.org/10.55082/jdp.2022.5.1.45.
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U.S. media and contents based on the Vietnam War have focused mainly on the political aspects of the Cold War era after the Second World War and the post-Cold War era in the 1990s, but little has been said about the frequent U.S. soldiers' sexual assault against Vietnamese women. This paper examines the way the faction literature and movies related to the Vietnam War reproduce sexual violence by the U.S.
military and discusses whether it is worth discussing the phenomenon of wartime sexual violence on terms of social science. To this end, I examine the contents reproduced by the style of 'faction' through literature data describing sexual assault by the U.S. military, and explore whether the reproduction method can be discussed politically based on William Timothy O'Brien's experience and perception. In addition, in the conclusion, a practical methodology is presented to convey precious lessons of international pacifism to future generations. As a result, it is emphasized that this genre of faction can present the direction of international efforts to realize true peace with various dynamics that can discourse this issue tinged by a style of social science research with sexual assault-related facts and sensitivity-stimulating fiction.
This paper will invite more follow-up studies in that it is a new attempt to explore whether the factional reproduction elements of Vietnam War-related works, which could have been understood mainly by interest, can be analyzed socially and scientifically.
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Soster, Vitor. "Subarno Chattarji. The Distant Shores of Freedom: Vietnamese American Memoirs and Fiction. New Delhi: Bloomsbury India, 2019. Pp. 262. ISBN: 978-93-88271-46-2." American, British and Canadian Studies 36, no. 1 (June 1, 2021): 221–24. http://dx.doi.org/10.2478/abcsj-2021-0013.
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Sánchez Hernández, María Angeles. "L'œuvre de Kim Thúy: une écriture née de la fêlure biographique." Anales de Filología Francesa 27, no. 1 (November 15, 2019): 311–30. http://dx.doi.org/10.6018/analesff.371011.
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En este artículo analizamos la obra de Kim Thúy, escritora canadiense de origen vietnamita. Sus textos se asemejan al género autobiográfico porque las historias que cuenta siguen de cerca su trayectoria biográfica y están escritos en primera persona; sin embargo, ciertos elementos no coinciden con el recorrido íntimo de la autora ni con los rasgos de la formulación general del género; por lo tanto, no se trata de una autobiografía normativa. Revisamos las teorías actuales sobre autobiografía y autoficción como fundamentación para nuestro análisis. A través de sus libros, estudiamos el lado de las escrituras del yo que se desvía de la idea tradicional de la autobiografía exponiendo una evolución de este tipo de relato relacionada con los cambios sociales del siglo XXI. In this article we analyse the work of Kim Thúy, a Canadian authoress of Vietnamese origin. Her texts resemble the autobiographical genre because the stories she tells closely follow her biographical trajectory and are written in first person; yet some elements do not coincide with the author's intimate journey or with the features of the genre's general formulation; therefore, it is not a normative autobiography. We review the current theories of autobiography and auto-fiction as the basis for our analysis. Through her books, we study the autobiographical works that deviates from the traditional idea of autobiography by exposing an evolution of this type of story related to the social changes of the 21st century. En este artículo analizamos la obra de Kim Thúy, escritora canadiense de origen vietnamita. Sus textos se asemejan al género autobiográfico porque las historias que cuenta siguen de cerca su trayectoria biográfica y están escritos en primera persona; sin embargo, ciertos elementos no coinciden con el recorrido íntimo de la autora ni con los rasgos de la formulación general del género; por lo tanto, no se trata de una autobiografía normativa. Revisamos las teorías actuales sobre autobiografía y autoficción como fundamentación para nuestro análisis. A través de sus libros, estudiamos el lado de las escrituras del yo que se desvía de la idea tradicional de la autobiografía exponiendo una evolución de este tipo de relato relacionada con los cambios sociales del siglo XXI.
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Dang, Ngan Ngoc. "Survey on the adaptation of The Three Kingdoms into Cai Luong – Vietnamese reformed theater style." Science & Technology Development Journal - Social Science and Humanities, 2021. http://dx.doi.org/10.32508/stdjssh.v5i3.642.
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Studying the process of adapting the masterpiece The Three Kingdoms into Cai Luong – Vietnamese reformed theatre, we can see that this adaptation process of The Three Kingdoms fictions is quite suitable for the tastes of the public in terms of art. In particular, it has a great attraction to the composers, urging them to create and transform it into reformed theater style. When researching this issue, the article considers them as a cultural product that is influenced by many different objective and subjective factors such as historical and cultural beliefs and intrinsic values of the original masterpiece itself. At the same time, the article provides a list of a number of reformed dramas from The Three Kingdoms fictions in Vietnam from the 1920s to the present. At the same time, the writer has conducted a preliminary analysis on the process of adapting The Three Kingdoms fictions into Cai Luong – a Vietnamese reformed theater style. This helps the receiver to generally visualize the nation's ceaseless creativity in the works that transform literature masterpieces into Vietnamese reformed theater style, including The Three Kingdoms in a systematic way. This transformation also shows the strong vitality of The Three Kingdoms in Vietnam.
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Armstrong, John. "Gothic Resistances: Flesh, Bones, Ghosts and Time in Vietnamese Postwar Fiction." eTropic: electronic journal of studies in the tropics 18, no. 1 (May 30, 2019). http://dx.doi.org/10.25120/etropic.18.1.2019.3686.
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In contrast to the thousands of critical studies of American writing on the Vietnam War, there has been a relative dearth of English-language appraisals of Vietnamese literature of the American War (as it is known in Vietnam). This disparity in understanding partly informs anthropologist Heonik Kwon’s distinction between “the idiom of ghost” often used in American memories of the war and the widespread public belief in war ghosts in Vietnam, whose war dead numbered approximately fifty times that of the American military forces, and whose citizens continued to suffer long after the war due to the most extensive bombing and chemical weapons campaigns in the history of humankind.This paper explores novels (by Bao Ninh and Duong Thu Huong) and short stories by (Le Minh Khue, Ho Anh Thai, Ngo Tu Lap and Phan Hy Dong) from the rich wave of Vietnamese postwar fiction which began to be published and translated in the early 1990s. Through close readings of these works, this study will analyse how local customs of the dead combine with Gothic forms and features – flesh, bones, ghosts and time – to create fictional and memorial resistances to myths and ideologies which have sought to cast the war in more traditional tropes of nationalism and heroism.
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Do, Tess. "Food and Crime Fiction: Two Complementary Approaches to the Vietnamese Past in Tran-Nhut's Les travers du docteur Porc." PORTAL Journal of Multidisciplinary International Studies 10, no. 2 (July 17, 2013). http://dx.doi.org/10.5130/portal.v10i2.3030.
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With a series of detective novels set in 17th century Dai-Viet that showcase the traditions, beliefs and customs of an exotic culture, in which the food and food habits of the Vietnamese people play a prominent role, Thanh-Van Tran-Nhut, an engineer-turned-novelist of Vietnamese origins, has carved a niche for herself in the popular crime fiction market in France. This paper focuses on the novel Les Travers du Docteur Porc, in which Doctor Porc, forensic investigator and gourmand extraordinaire, adopts the mantle of chief detective from Tran-Nhut’s usual protagonist, the loyal mandarin Tan. In this movement, we argue, the author has shaped two different but complementary approaches to her birth-country’s turbulent past that coalesce in the gargantuan figure of the (politically unencumbered) doctor and connoisseur of Vietnamese cuisine. Whereas the process of ‘solving the crime’ can be read as an attempt to seek answers and restore order in the wake of senseless bloodshed, it is food, we contend, that emerges, not only as a source of pleasure, succour and stability, but as a cultural heritage that war and upheaval failed to destroy.
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Dickason, Renée. "Focus on The Distant Shores of Freedom: Vietnamese American Memoirs and Fiction." Revue LISA / LISA e-journal, January 28, 2021. http://dx.doi.org/10.4000/lisa.12981.
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Nguyet, Tran Thi Anh, and Bui Bich Hanh. "Empathy for animals: ecological ethics in Vietnamese contemporary prose." University of Danang - Journal of Science and Technology, June 30, 2024, 97–100. http://dx.doi.org/10.31130/ud-jst.2024.287e.
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In response to the global environmental crisis, ecocriticism emerged in the 1970s, fitting the demands of the time and becoming a dynamic movement that continues to this day. Ecological theory acknowledges the equal existence of creatures, believing that all creatures are the same and that no species is dominating. From the innovative idea of ecocriticism, Vietnamese fictional prose after the Innovation 1986 years has emerged characters who share the sense of pain with all creatures. This article highlights the shift in environmental discourses, which no longer view humans as the lord of all creatures but rather as being able to listen to the voices of nature, care for injured animals, and love and protect all living things-a perspective that first established ecological ethics in Vietnamese literature.
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Gammon, Thi. "‘Isn’t It a Bit Rough?’ – Vietnamese Audience Reception of Wrist-grabbing in Korean Television Dramas, Feminist Consciousness, and Fantasy." Sexuality & Culture, April 7, 2023. http://dx.doi.org/10.1007/s12119-023-10080-4.
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AbstractOver the past two decades, Korean television drama (K-drama), which stands at the forefront of the Korean Wave, the popularisation of South Korean pop culture worldwide, has raised controversy over male characters’ sexist and patriarchal behaviours. At the centre of such controversy is the trope of wrist-grabbing, characterised by a man’s attempt to grasp a woman’s wrist to drag her to another place and force a conversation. Previous studies about international fans have revealed strong disapproving reactions, especially from feminist-identified viewers. This article on Vietnamese audience reception showed variations: some enjoyed wrist-grabbing, some condemned the act, while others exhibited ambivalence. These varied responses expose many influencing factors: Confucian-inflected patriarchal values, feminist discourses, lived experiences, and suspension of disbelief in media consumption. This analysis of the audience readings of fiction reveals some truth about gender politics in Vietnam, including a certain level of patriarchal celebration and weak feminist consciousness. The article contributes to contemporary Vietnamese studies, gender studies, research of the Korean Wave, and media audience research.