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Artículos de revistas sobre el tema "Art – Vietnam"

Autor: Grafiati

Publicado: 29 de marzo de 2025

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1

Quoc Dung, Mai. "The motto diplomacy respects ho chi Minh's peace and the application of Vietnam's foreign policy". Edelweiss Applied Science and Technology 8, n.º 4 (11 de septiembre de 2024): 1188–97. http://dx.doi.org/10.55214/25768484.v8i4.1493.

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Ho Chi Minh's thought on foreign affairs, methods, style and art of diplomacy is a part of Ho Chi Minh's thought in general on Vietnam's revolutionary line. In the past time, Vietnam has strongly implemented diplomatic work according to Ho Chi Minh's diplomatic thought and achieved great successes: Vietnam's foreign relations expanded and Vietnam's position in the international arena. One of the success factors of Vietnam's diplomacy in recent years is that Vietnam has returned to Ho Chi Minh's diplomatic thought. With the promotion of participation in ASEAN, ASEM, APEC... and especially becoming a member of the World Trade Organization, Vietnam has been integrating wider and deeper into the world and the region. Many new problems arise for Vietnamese land and for Vietnamese diplomacy, both in terms of opportunities and challenges. That situation requires Vietnam to continue to study more deeply about Ho Chi Minh's foreign policy, methods, style and art, find new explanations and especially the application of Ho Chi Minh's thought.

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2

Thắm, Hoàng Thị. "The “Détente to Step Forward” Diplomatic Strategy and Efforts to Save Vietnam’s Fragile Peace from March 1946 to December 1946". Studies in Media and Communication 12, n.º 2 (7 de abril de 2024): 290. http://dx.doi.org/10.11114/smc.v12i2.6864.

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The historical period 1945–1946 occupies a particularly prominent position in modern Vietnamese history. It was a period full of challenges for the Communist Party, the newly formed government of the Democratic Republic of Vietnam, and the Vietnamese people. It was also a period with many historical events including the diplomatic struggle of the Government of the Democratic Republic of Vietnam to protect and strengthen the revolutionary government in the face of imperialist countries’ plot to monopolize Vietnam. The current study set out to describe the art of the diplomatic struggle of the Government of Vietnam and the Communist Party in the fight against the sabotage of the Preliminary Agreement of March 6, 1946, by Chiang Kai-shek’s army and his henchmen, and the violation of the same agreement by the French colonialists using historical research, logic, analysis, and listing. The diplomatic struggle was “firm in objectives, flexible in strategies and tactics.” Study findings on Vietnam’s revolutionary and modern diplomatic art revealed the plot of France and Chiang, and how the Vietnamese peacefully protected their territorial integrity and national sovereignty.

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3

Small, Melvin. "Forgotten Warriors: Combat Art from Vietnam". History: Reviews of New Books 22, n.º 1 (julio de 1993): 9. http://dx.doi.org/10.1080/03612759.1993.9950780.

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4

Lý, Tr'ân Dình. "Eine neue Ervatamia-Art aus Vietnam". Feddes Repertorium 91, n.º 7-8 (18 de abril de 2008): 393–95. http://dx.doi.org/10.1002/fedr.19800910702.

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5

Lý, Tr'ân Dình. "Eine neue Rauvolfia-Art aus Vietnam". Feddes Repertorium 91, n.º 7-8 (18 de abril de 2008): 397–99. http://dx.doi.org/10.1002/fedr.19800910703.

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6

Lý, Tr'ân Dình. "Eine neue Strophanthus Art aus Vietnam". Feddes Repertorium 91, n.º 1-2 (18 de abril de 2008): 7–9. http://dx.doi.org/10.1002/fedr.19800910104.

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7

Vuong, Quan-Hoang, Manh-Tung Ho, Hong-Kong Nguyen, Thu-Trang Vuong, Kien Tran y Manh Ho. "“Paintings Can Be Forged, But Not Feeling”: Vietnamese Art—Market, Fraud, and Value". Arts 7, n.º 4 (9 de octubre de 2018): 62. http://dx.doi.org/10.3390/arts7040062.

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A work of Vietnamese art crossed the million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity for Vietnamese art amidst many problems. Even though the media in Vietnam has discussed the problems enthusiastically, there is a lack of literature from Vietnamese academics on the subject, especially from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market through the lens of art frauds. Thirty-five cases of fraudulent paintings were found on the news and in stories told by art connoisseurs. The qualitative analysis of the cases has shown that the economic value of Vietnamese paintings remains high despite the controversial claims about their authenticity. Here, the Vietnamese authority seems indifferent to the problem of art frauds, which make the artists more powerless. While the involvement of foreign actors in the trading of Vietnamese art does not reduce the intensity of the problem, it seems to continue to drive the price higher. The results have implications on the system of art in Vietnam, the current state of art theft in Vietnam, and the perception of Vietnamese people on art.

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8

Blackmore, Tim. "Full Paper Jacket: Vietnam Book Cover Art". Canadian Review of American Studies 50, n.º 1 (marzo de 2020): 45–101. http://dx.doi.org/10.3138/cras.2019.002.

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9

Thi Vu, Thu Huong y Tuan Dung Nguyen. "Vietnam". Actas de Arquitectura Religiosa Contemporánea 8 (21 de diciembre de 2021): 28–47. http://dx.doi.org/10.17979/aarc.2021.8.0.8850.

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In the 16th century, the first Spanish and Portuguese Dominican missionaries arrived in Southeast Asia, included Vietnam, but only after the first decades of the seventeenth century, Christianity began to take hold and lived through different episodes of the Proclamation of the Christian faith: first it was tolerated and then abandoned by the dynasties, supported by the colonialists, declined in the north by the communists, it expanded in the south under the Republic of Vietnam and stabilized until now after the reunification of the country followed by a long breakage due to political change. Along with this story, sacred architecture was interpreted in various ways to define identities in religious life and faith. However, the most difficult period of religious architecture is not only in the political conflict of the past, but also until now, the time of the economic boom. The change of values as well as the aesthetic system make sacred art and architecture remain a giant wheel stuck in mud.

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10

Nguyen, Thi Huong Giang y Ngoc Van Anh Tran. "ACCUMULATING CULTURAL VALUES IN VIETNAM’S EXPORT PRODUCTS". Social Science and Humanities Journal 8, n.º 09 (1 de septiembre de 2024): 4780–805. http://dx.doi.org/10.18535/sshj.v8i09.1296.

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Exporting goods and services is a common activity in the current era of economic and international integration. In recent years, Vietnam has achieved remarkable results in export activities. For instance, in the first six months of 2024, Vietnam attained an export turnover of USD 190.1 billion, a 14.5% increase compared to the same period last year. Contributing to this growth is the export of cultural products, including conical hats, áo dài (traditional Vietnamese dress), and Vietnamese art performances abroad; as well as welcoming international tourist groups to visit Vietnam’s culturally significant historical and architectural sites. In the following article, after exploring Vietnam’s cultural values and the current state of accumulating these values in Vietnam’s export products, several solutions are proposed to further promote this activity in the future.

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11

Vu, Lan Thi Hoang, Benjamin Johns, Quyen Thi Tu Bui, Anh Duong Thuy, Diu Nguyen Thi, Hien Nguyen Thi y Anh Nguyen Cam. "Moving to Social Health Insurance Financing and Payment for HIV/AIDS Treatment in Vietnam". Health Services Insights 14 (enero de 2021): 117863292098884. http://dx.doi.org/10.1177/1178632920988843.

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This study estimates the amount antiretroviral therapy (ART) clients paid out of pocket for preventive and treatment services and the percentage of ART clients incurring catastrophic payments during the period when ART services were transitioning from donor funding to domestic social health insurance (SHI) in Vietnam. Using a cross-sectional facility-based survey in 9 provinces, a sample of 582 clients across 18 ART facilities representatives of all facilities where SHI-financed ART was being implemented were interviewed in 2019. Results indicated 13.4% (95% CI: 5.7%, 28.2%) of clients incurred a payment for outpatient ART care. The average out of pocket expenditures for outpatient visits and HIV related outpatient visits was USD $71.2 and $8 per year, respectively. The average out of pocket expenditure for inpatient admission and HIV related inpatient admission was $7.1 and $1.6, respectively. Only 0.1% clients currently experienced HIV-related catastrophic payment at the 25% of total expenditures threshold. The study confirms the transition from donor-financed ART to SHI-financed ART is not causing financial hardship for ART clients. However, more commitment from the Government of Vietnam to strengthen HIV-related services under SHI may be needed in the future, and there is still need to ensure universal SHI coverage among people with HIV/AIDs in Vietnam.

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12

Nhan, Tran Thi Mai. "Vietnam contemporary novels and “the Calls of Art”". Science & Technology Development Journal - Social Sciences & Humanities 1, n.º 4 (27 de diciembre de 2018): 58–66. http://dx.doi.org/10.32508/stdjssh.v1i4.464.

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Since the 1960s, people in the world have talked about “the death” of novels and tried to find solutions to “revive” them. However, according to M. Kundera – a writer and the author of “The Art of the Novel”, if the novel goes to “the end”, it’s not necessarily that it has fully developed its abilities, knowledge, forms, but because it has missed the opportunities to hear “sensitive calls” – the calls of game, the calls of dream, the callS of thoughts and the call of time, which reminds us of interesting thinkings about the contemporary Vietnamese novels. After 1986, Vietnamese novels have made breakthroughs and had a rich harvest of novels, but the development path of the Vietnamese novels still experiences ups and downs. In this paper, we aim to learn which “calls of the art” Vietnamese novels have heard, and which calls are vague echoes. Thereby, we also hope writers will listen and come closer to those sensitive calls of novels so that Vietnamese literature would have pinnacle novels, shortening the distance from the world’s literature.

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13

Silberman, Rob. "The Art of War Vietnam Terminable and Interminable". Afterimage 16, n.º 2 (1 de septiembre de 1988): 10–13. http://dx.doi.org/10.1525/aft.1988.16.2.10.

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14

Proctor, Ann. "The Cham of Vietnam: History, Society and Art". Asian Studies Review 38, n.º 2 (3 de abril de 2014): 317–19. http://dx.doi.org/10.1080/10357823.2014.902743.

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15

Miller, Terry E., Phong Nguyen, Chi Tam, Le-thi Huong-lan y Ngan Doai. "Traditional Music of Vietnam. Instrumental - Art Songs - Poetry". Asian Music 19, n.º 1 (1987): 129. http://dx.doi.org/10.2307/833768.

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16

Corey, Pamela N. "The (Calli)graphic Regimes of Contemporary Vietnamese Art". ARTMargins 13, n.º 3 (1 de octubre de 2024): 13–35. https://doi.org/10.1162/artm_a_00390.

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Abstract In 1990s Hanoi, Vietnam, many contemporary artists navigated the written form as crucial to the logic of the pictorial field. These included Vũ Dân Tân (1946-2009), Trương Tân (b. 1963), and Nguyễn Văn Cường (b. 1973), among others. I examine these artistic experiments as integral to what many have hailed as the emergence of contemporary art in Vietnam, linked to the early effects of globalization and the impetus to freely engage with questions of selfhood following over forty years of a socialist realist mandate. However, I also suggest the significance of site to these practices, in particular the postsocialist graphic regime of the urban environment, with its traces of historical inscriptions, influx of commercial signage, and ubiquitous public propaganda posters that continue to coat the surfaces of cities today. The artworks discussed in this essay drove new understandings of art, particularly in the use of line and text to situate artistic expression as part of but also apart from the urban surfaces and graphic materials on and in which such unorthodox actions were enacted. As such, the (calli)graphic regime marked a radical shift in perceptions of what could be art in 1990s Vietnam.

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17

Nguyen, Son Duc. "Digital transformation in art pedagogical training in Vietnam today". Vietnam Journal of Education 4, n.º 4 (30 de diciembre de 2020): 69–75. http://dx.doi.org/10.52296/vje.2020.82.

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E-learning is one of the non-traditional education forms and sustainable innovations that can spread knowledge across space, time, and borders worldwide. The article highlights the role, importance, and impact of digital transformation in the field of arts in general and particularly art pedagogical training in Vietnam today. In addition, the article mentions and analyzes the changes among universities, lecturers in terms of art teaching methods and art pedagogical training… during the process of digital transformation. Given the unique features of art pedagogy, a digital transformation model is proposed to shape and develop digital transformation strategies, which hopefully helps to digitize the learner’s experience with digital teaching and learning activities; as well as the environment and mode of operation and training facilities. The model may offer a digital solution to practical problems in art pedagogical training among related training institutions in Vietnam nowadays.

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18

Golosova, E. V. y H. M. Chu. "INFLUENCE OF FRENCH GARDEN CULTURE ON URBAN GREENING IN VIETNAM". Landscape architecture in the globalization era, n.º 4 (2020): 32–42. http://dx.doi.org/10.37770/2712-7656-2020-4-32-42.

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The article analyzes the role of the French protectorate in the development of the greening system of major cities in Vietnam. The article presents political, economic and religious facts that influenced domestic policy in the field of urban planning and landscape architecture in the period from 1858 to 1954. The French protectorate period was an important milestone in the history of Vietnamese architecture. The French made significant changes to the construction art of Vietnam with its traditional wooden architecture. They built homes using new technologies such as mansard roofs, terraces, and balconies, and also used new materials for Vietnam - cement, steel, concrete, ceramic tiles, and slate. It is shown that in the initial period of French rule in Vietnam, only European traditions were used in architecture and Park construction, and after the 1st world war, with the acquisition of a certain negative experience, they began to take into account the traditions of local construction art and the climatic conditions of the region. A significant contribution of French specialists was made in the first attempts to select types of woody plants for urban gardening that meet the requirements of safety and street hygiene. French influence in the garden culture of Vietnam shifted the vector of development of this area of activity towards Europeanization. This is especially evident in the structure of urban squares and the ways in which plants were formed according to the laws of European topiary art, which required regular planning.

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19

Bui, Duong D., Nhan T. Do, Linh TT Pham, Patrick Nadol, Van TT Nguyen, Vinh Q. Dao, Long H. Nguyen et al. "Couples HIV testing and immediate antiretroviral therapy for serodiscordant HIV-positive partners: Translating evidence into programme in Vietnam". International Journal of STD & AIDS 30, n.º 8 (2 de mayo de 2019): 739–47. http://dx.doi.org/10.1177/0956462418825405.

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Injection drug use and heterosexual transmission from male key populations to their female partners have been the dominant modes of HIV transmission in Vietnam. A demonstration project was conducted to offer immediate antiretroviral therapy (ART) (regardless of CD4 cell count) to HIV-seropositive partners in serodiscordant couples. During March–December 2013, couples HIV testing and counselling (HTC) and immediate ART were offered in two drug use-affected provinces. Of 256 couples receiving couples HTC, 146 (57%) were serodiscordant; 134 (92%) seropositive partners initiated ART irrespective of CD4 cell count. Of these, 86% were male; 57% reported ever using illicit drugs; median CD4 cell count before ART initiation was 374 cells/mm3. Consistent condom use was reported by 58, 70 and 71% among HIV-positive partners at months 0, 3 and 12. At 12 months after ART initiation, 119 (89%) HIV-positive partners were retained in care; 96 (95% of those tested) achieved viral suppression (<1000 copies/ml). Uptake of immediate ART and viral suppression among those initiating ART were high, paving the way for ART regardless of CD4 cell count as national policy in Vietnam.

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20

Nguyen, Chinh. "RESEARCH ON DON CA TAI TU ART IN THE SOUTH OF VIETNAM FROM 1975 TO PRESENT". Scientific Journal of Tra Vinh University 1, n.º 37 (25 de marzo de 2020): 34–45. http://dx.doi.org/10.35382/18594816.1.37.2020.376.

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The studies on the art of Don ca tai tu in the South of Vietnam from the middle of the 20th century to the present were gathered for a review, and the achievements and limitations of studying the traditional artof Don ca tai tu of Southern Vietnam over time have been collected. The results show that the studies have contributed to identifying the origin, properties and characteristics of this traditional music form, and haveassessed the current reality and proposed solutions to preserve and promote the art of Don ca tai tu. Due to that basis, this paper proposes further research which contribute to the sustainable conservation and promotion the Southern art of Don ca tai tu in the context of globalization.

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21

Lucaites, J. L. "Art Workers: Radical Practice in the Vietnam War Era". Journal of American History 98, n.º 2 (1 de septiembre de 2011): 583–84. http://dx.doi.org/10.1093/jahist/jar207.

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22

Cohen, Brianne. "Fifty Years Later: Art, Ecocide and Animatedness in Vietnam". Southeast of Now: Directions in Contemporary and Modern Art in Asia 8, n.º 1 (marzo de 2024): 3–29. http://dx.doi.org/10.56159/sen.2024.a924614.

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Abstract: Fifty years after the end of the Second Indochina War, Tuần Andrew Nguyễn’s two-screen video , The Sounds of Cannons Familiar Like Sad Refrains (Đại Bác Nghe Quen Như Câu Dạo Buồn , 2021) juxtaposes U.S. military footage in Vietnam with contemporary documentation of Vietnamese agents unearthing and reburying an unexploded bomb for a controlled detonation in the highlands. I argue that the artwork combines wartime imagery with emotionally charged voiceover, sound and music to give its protagonist—the unexploded ordnance—a “proper burial” after 50 years, situating it within the animist-Buddhist ecological life surrounding it in the rainforest. I conclude by connecting the video to the 2016 fish ecocide of the Formosa disaster and Hoàng Ngọc Tú’s artistic protest of 6,000 face masks printed with images of fish for demonstrators to wear. Both artworks doubt the singular power of atrocity images to spur on political action, offering instead alternative possibilities for public animatedness against socio-environmental violence .

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23

Dinh, Duc Tien. "Champa cultural imprints in northern Vietnam through historical and archaeological resources". Russian Journal of Vietnamese Studies 6, n.º 3 (6 de octubre de 2022): 46–57. http://dx.doi.org/10.54631/vs.2022.63-111086.

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Champa is remembered today through a system of temple architecture and sculpture art as a brilliant civilization that once existed in Central Vietnam. Champa had always maintained political and economic ties with the Đại Việt dynasties throughout its history. The article focuses on Champa cultural imprints found in northern Vietnam, specifically sculptures from the L and Trần dynasties (1009-1400). The newly discovered artifacts in Northern Vietnam were compared to Champa sculptures of the same period (11th-14th centuries), demonstrating strong Champa cultural influences in North Vietnam. The article also uses written sources and records on the migration and settlement of the Champa people in North Vietnam to demonstrate the cultural imprints that have remained to this day.

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24

Molinaro, Mary. "A DIFFERENT WAR: VIETNAM IN ART. Lucy LippardRESISTANCE ART IN SOUTH AFRICA. Sue Williamson". Art Documentation: Journal of the Art Libraries Society of North America 9, n.º 3 (octubre de 1990): 154–55. http://dx.doi.org/10.1086/adx.9.3.27948254.

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25

Rato, Montira. "The Decline of Socialist Realism in Post-1975 Vietnamese Literature". MANUSYA 10, n.º 2 (2007): 24–40. http://dx.doi.org/10.1163/26659077-01002003.

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In Vietnam, Socialist Realism served as a tool for the party and the state to control art and literature. Its emphasis on the utilitarian function of literature and collectivism is a good explanation for why it flourished in Socialist countries, including Vietnam. However, Socialist Realism was found unsuitable for the development of Vietnamese literature in the post-1975 period. This study tries to examine how Socialist Realism was adopted and adapted in Vietnam, and why it was challenged in the post-war period.

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26

Man Hong, Dao. "The Stanislavsky system plays an important role in the theater of Vietnam". Voprosy kul'turologii (Issues of Cultural Studies), n.º 3 (18 de febrero de 2021): 238 (280)—243 (285). http://dx.doi.org/10.33920/nik-01-2103-04.

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K.S. Stanislavsky plays an important role in the theater of Vietnam. Konstantin Sergeevich Stanislavsky (real name Alekseev; 1863–1938) — actor, director, theater teacher, founder and director of the Moscow Art Theater (Moscow Art Theater). People's Artist of the USSR (1936). An activist, thinker and major theater theorist, he, on the basis of modern science, created a school of theatrical art — the Stanislavsky generation. In addition to a successful psychological approach to the performing arts, he also contributed greatly to the formation of progressive art and art for the people. English version of the article on pp. 280-285 at URL: https://panor.ru/articles/stanislavskis-system-plays-an-important-role-in-vietnamese-theatre/65897.html

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27

Dang, Thi THAN. "INTRODUCTION OF CREDIT EDUCATION IN JOURNALISM EDUCATION IN VIETNAM". Lifelong Education: the XXI century 38, n.º 2 (junio de 2022): 78–91. http://dx.doi.org/10.15393/j5.art.2022.7630.

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28

Li, Li, Chunqing Lin, Sung-Jae Lee, Le Anh Tuan, Nan Feng y Nguyen Anh Tuan. "Antiretroviral therapy adherence and self-efficacy among people living with HIV and a history of drug use in Vietnam". International Journal of STD & AIDS 28, n.º 12 (3 de marzo de 2017): 1247–54. http://dx.doi.org/10.1177/0956462417696431.

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People living with HIV with a history of drug use face additional psychosocial challenges that could compromise their adherence to antiretroviral therapy (ART). This study examined ART treatment adherence and adherence self-efficacy among people living with HIV with a history of drug use in Vietnam. We used cross-sectional baseline data collected between October 2014 and February 2015 from a randomized controlled trial in Vietnam. Of the 900 persons with a history of drug use in the trial, a sample of 109 people living with HIV currently on ART were included in the study. The vast majority (92%) of the participants reported not missing any medications in the past 30 days. Multiple regression results indicated that social support was positively associated with adherence self-efficacy (β = 0.420, P < 0.001) and general adherence to ART (β = 0.201, P = 0.0368). General adherence to ART was negatively associated with depressive symptoms (β = −0.188, P = 0.046) and current heroin use (β = −0.196, P = 0.042). These findings underscore the importance of addressing mental health and social challenges facing people living with HIV with a history of drug use to promote ART treatment adherence. Clinical management of HIV should identify and address concurrent substance use behaviors to maximize adherence and treatment outcomes.

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29

Taylor, Nora A. "Vietnamese Anti-art and Anti-Vietnamese Artists: Experimental Performance Culture in Hà Nội’s Alternative Exhibition Spaces". Journal of Vietnamese Studies 2, n.º 2 (2007): 108–28. http://dx.doi.org/10.1525/vs.2007.2.2.108.

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Since 1995, artists in Vietnam have been staging performance art events in alternative art spaces around Hàà Nôôi and Hôô Chíí Minh City, often defying government restrictions on public gatherings. That they take place outside of the ordinary venues for art, such as galleries and museums, gives these performances an illicit flavor that both attracts and deflects attention. This paper will argue that these art forms originate in a local culture of ritualized displays of emotion and are freeing artists from the constraints of the mainstream art world.

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30

Behrens, Julia y Bùi Kim Đĩnh. "No War No Vietnam: A Multimedia Art Exhibit in Berlin". Journal of Vietnamese Studies 14, n.º 1 (2019): 87–96. http://dx.doi.org/10.1525/vs.2019.14.1.87.

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31

Khánh, Trâń Cȏng. "Beitrag zur Kenntnis der Sippenstruktur des Genus Strychnos L. in der Flora Vietnams1". Feddes Repertorium 97, n.º 11-12 (diciembre de 1986): 713–51. http://dx.doi.org/10.1002/j.1522-239x.1986.tb00191.x.

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ZusammenfassungIm Rahmen des Forschungsprogramms zur Untersuchung der Sippenstruktur und der Nutzung von Arzneipflanzen, besonders in der Gattung Strychnos, in der Flora Vietnams wurde die vorliegende Arbeit durchgeführt.Es wurden 1145 Exsikkate von 19 in Vietnam vorkommenden Arten aus Süd‐ und Südost‐Asien bis Australien untersucht. Auf Grund der morphologisch‐anatomisch‐palynologisch und chemischen Untersuchungen wurde die Sektion Strychnos s. l. in zwei Sektionen und zwi Subsektionen geteilt, nämlich sect. Strychnos s. str. – subsect. Nitidae T. C. Khánh, subsect. nov., subsect. Wallichianac T. C. Khánh subsect., nov. – und sect. Angustiflorac T. C. Khánh, sect. nov.Die Arten S. daclacensis T. C. Khánh, s p. nov. und S. sonlaensis T. C. Khánh, sp. nov. wurden neu beschrieben. S. spireana Dor wurde wieder aus S. nux‐vomica als sclbständige Art herausgenommen. Die Gliederung der Sippen der Gattung Strychnos in Vietnam wurde nach der Kenntnis des Merkmalskomplexes umgebaut.Für fast jede Merkmalsgruppe wurde eine Evolutionstendenz skizziert und darüber diskutiert. Die vermutlichen Verwandtschaftsbeziehungen der Sippen wurden begründet und zwei Bestimmungsschlüssel der Arten (nach vegetativen und generativen Merkmalen) vorgelegt.

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32

Katzive, Bonnie. "Looking, Writing, Creating". Voices from the Middle 4, n.º 3 (1 de septiembre de 1997): 1–5. http://dx.doi.org/10.58680/vm19973754.

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Describes how a middle school language arts teacher makes analyzing and creating visual art a partner to reading and writing in her classroom. Describes a project on art and Vietnam which shows how background information can add to and influence interpretation. Describes a unit on Greek mythology and Greek vases which leads to a related visual assignment.

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33

Lenzi, Iola. "Early contemporary art in Vietnam: Đổi Mới shift as spur of innovation in globalizing 1990s-Hanoi". Russian Journal of Vietnamese Studies 6, n.º 1 (15 de enero de 2022): 73–85. http://dx.doi.org/10.54631/vs.2022.61-105389.

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The social impacts of 1986 Đổi Mới economic reform in Vietnam are well-studied. However, connections between Đổi Mới change and 1990s artistic transformation are not. This study examines these ties to reveal how post-Đổi Mới, outside Vietnamese mainstream art, and in not yet globally-open Hanoi, vanguard expressions emerged. Using artwork analysis and cross-disciplinary literature, this paper spotlights how material and social landscapes of 1990s-Hanoi impacted art. It uncovers parallels with Southeast Asian contemporary art to conclude that Hanoi vanguard practices constituted early Vietnamese contemporary art expanding regional 20th century art history without obligatory recourse to outside models.

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Klausnitzer, Bernhard. "Neue Arten der Gattung Mescirtes MOTSCHULSKY, 1863 aus Laos und Vietnam (Coleoptera, Scirtidae) (190. Beitrag zur Kenntnis der Scirtidae)." Beiträge zur Entomologie = Contributions to Entomology 63, n.º 2 (20 de diciembre de 2013): 205–12. http://dx.doi.org/10.21248/contrib.entomol.63.2.205-212.

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Aus Laos bzw. Vietnam wird je eine neue Art aus der Gattung Mescirtes Motschulsky, 1863 beschrieben. M. sedlagi n. sp. ist vor allem durch die auffällige Färbung gekennzeichnet. M. eberti n. sp. wird mit M. rutilicollis Klausnitzer, 2012 verglichen. Bestimmungstabellen für die Männchen und Weibchen der aus Südostasien (Festland) bekannten Arten sowie ein Katalog aller Mescirtes werden vorgelegt.StichwörterColeoptera, Scirtidae, Mescirtes, new species, determination key, Laos, Vietnam, Oriental Region.Nomenklatorische Handlungeneberti Klausnitzer, 2013 (Mescirtes), spec. nov.sedlagi Klausnitzer, 2013 (Mescirtes), spec. nov.

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35

Hoàng, Nguyễn Phước. "TEACHING LITERARY WORKS FROM THE PERSPECTIVE OF VIETNAMESE CULTURE". International Journal of Education and Social Science Research 05, n.º 06 (2022): 265–70. http://dx.doi.org/10.37500/ijessr.2022.5620.

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Teaching literary works from the perspective of Vietnam culture is a new approach, and is attracting the attention of researchers and educators. This approach will bring positive effects in exploiting and receiving literary works. The article focuses on clarifying cultural aspects in reading comprehension activities of literary works and how to organize the teaching of literary works from the perspective of Vietnam culture, which help us understand more fully works of art with the encryption system implicit in it.

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Brucher, Rosemarie. "Self-Injuring Body Art". New German Critique 46, n.º 2 (1 de agosto de 2019): 151–70. http://dx.doi.org/10.1215/0094033x-7546220.

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AbstractArtistic self-injury, established as an art form since the late 1960s, polarizes the audience and still raises questions about the motivations behind such actions as well as about the narrative contexts in which they occur. While past research has focused on either specific performers or specific trajectories of violence in the contexts in which each artist was working, for instance, the Vietnam War (Kathy O’Dell), this article localizes artistic self-injury within the larger coherencies of the history of mind with respect to aesthetic theories. Questions of subjectivation and desubjectivation seem especially productive for such a discussion. Read against the backdrop of the aesthetics of the Kantian sublime as a strategy of self-empowerment that sets the independence of the will against the powerlessness of the body, the self-wounding act can also be understood with Georges Bataille as a purposeful desubjectivation, in which the artist strives for a radical disempowerment through pain. A consideration of selected artists sounds out the range between these two theoretical references.

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Le-Thi-Ngoc, Diep y Ngoc Tho Nguyen. "ECOAMBIGUITY AND TOURISM DEVELOPMENT IN CONTEMPORARY VIETNAM – CASE STUDY OF AN ETHNIC KHMER VILLAGE IN SOUTHERN VIETNAM". Revista de Investigaciones Universidad del Quindío 33, n.º 2 (5 de octubre de 2021): 74–85. http://dx.doi.org/10.33975/riuq.vol33n2.515.

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Many development projects in Vietnam today, including tourism, are partially focused on ecology. However, the mentality of cultivating for later gains is still popular. In addition to the goal of creating opportunities to benefit local communities, this development discourse conveys a sense of ‘ecoambiguity’. This study mainly applies the concept of "ecoambiguity" of Thornber (2012) to discuss the current situation and impact of tourism activities in the Khmer community around Bà Om Pond in Trà Vinh, Vietnam. Unlike previous works that discussed the beauty and value of Khmer religion, temples, rural life, festivals, and art, this research argues that people-centered policies have never enabled people to achieve their goals.

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Lenh Hung Tu, Do. "Applied art in the interaction with environmental architecture and urban environment". MATEC Web of Conferences 193 (2018): 04019. http://dx.doi.org/10.1051/matecconf/201819304019.

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Applied art is the synthesis of many science and technologies, production process technology, and it has strong development in many countries all over the world. Applied art products are always present in all shapes and sizes in every urban space and have a strong interaction with the architectural and environmental landscape. A modern civilized city always needs harmonious alignment in the planning of these elements. In many urban areas in Vietnam, the interaction between architectural landscapes, urban environments, and urban beauties was not really taken seriously. It is obvious that the weaknesses in management are directly affecting the urban beauty. The overall picture of the city was not beautiful due to the absence of a head of the urban management. Discussing some solutions to improve the face of urban in Vietnam, it is necessary to clearly define the important role of the urban management levels; enhance the role of architects, artists, designers; build a civilized lifestyle, educate the sense of self-awareness and proper behavior of each urban resident.

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Ngoei, Wen-Qing. "Exhibiting Transnationalism after Vietnam: The Alpha Gallery’s Vision of an Artistic Renaissance in Southeast Asia". Journal of American-East Asian Relations 29, n.º 3 (20 de septiembre de 2022): 271–99. http://dx.doi.org/10.1163/18765610-29030004.

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Abstract This essay examines the Alpha Gallery, an independent artists’ cooperative that Malaysians and Singaporeans established, which staged art shows during the 1970s to spark an artistic renaissance in Southeast Asia. The cooperative’s transnational vision involved showcasing Balinese folk art as a primitive and, therefore, intrinsically Southeast Asian aesthetic, while asserting that it shared cultural connections with the Bengali Renaissance of the early 20th Century. Alpha’s leaders believed these actions might awaken indigenous artistic traditions across Southeast Asia. Their project underscores the lasting cultural impact of colonialism on Southeast Asia and the contested character of the region. Alpha’s condescending view of Balinese folk art echoed the paternalism of Euro-American colonial discourses about civilizing indigenous peoples that persisted because its key members received much of their education or training in Britain and the United States, a by-product of their countries’ pro-U.S. trajectory during the Vietnam War. Equally, Alpha’s transnationalism ran counter to Southeast Asian political elites’ fixation with pressing art toward nation-building. Indeed, the coalescing of nation-states does not define the region’s history during and after the Vietnam War. Rather, non-state actors like Alpha’s members, in imagining and pursuing their versions of Southeast Asia, contributed to the persistent contingency of the region.

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40

Kang, Heejung. "Ancient Religious Art from the Óc Eo Civilization in Southern Vietnam". Korean Journal of Art History 305 (31 de marzo de 2020): 171–96. http://dx.doi.org/10.31065/ahak.305.305.202003.006.

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Van Minh, Nguyen. "Overview of the history of painting and lacquer art in Vietnam". Arts & Humanities Open Access Journal 5, n.º 1 (8 de febrero de 2023): 47–53. http://dx.doi.org/10.15406/ahoaj.2023.05.00185.

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Traditional Vietnamese lacquer is recognized through professional and historical forms. First of all, decorative painted relics, associated with religious beliefs, have served in spiritual life through worshiping items in pagodas, temples, communal houses, and palaces. Architectural columns and horizontal lacquered board are applied in hammocks, couplets, animism, four holy creatures, flowers of the four seasons, eight precious items of Buddhism, Baguio, palanquin, hammock, long communal house, worshipping paintings, decorative paintings... Especially Vietnamese lacquer painting through actual labor, practical works, research, and application of traditional techniques in the artistic creation of artists, has formed the appearance of traditional Vietnamese lacquer art in the past over the course of more than two thousand years of history.

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42

Công Khánh, Tkåǹ. "Strychnos spireana Dop in der Flora Vietnams". Feddes Repertorium 97, n.º 5-6 (junio de 1986): 275–78. http://dx.doi.org/10.1002/j.1522-239x.1986.tb00299.x.

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ZusammenfassungDie morphologisch‐anatomischen Merkmale des Typus‐Exsikkates von Str. spireana Dop, gesammelt von Dr. Spire, Nr. 1204 in Cahntrap (Laos) zeigen deutlich, daβ es sich bei dieser Pflanze um eine eigene Art handelt und daβ das von Dop gewählte Binomen Str. spireana beibehalten werden muβ. Nach den Angaben der untersuchten Herbarbögen kommt diene Art nur an drei Lokalitäten im Norden von Vietnam und im Norden von Laos vor. Der Alkaloid‐Gehalt der Blätter ist relativ hoch (3,1%), deshalb könnte diese Art für eine Nutzung in der pharmazeutischen Industrie geeignet sein.

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Duc, Tran Minh y Tran Dung. "The Role and Authority of Abbot Monks in Southern Theravada Buddhist Temples in Reviving the Sen Dolta Festival of the Khmer People in Southeast Vietnam". International Journal of Religion 5, n.º 11 (27 de junio de 2024): 2127–36. http://dx.doi.org/10.61707/44vank46.

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Sen Dolta is one of the quintessential traditional festivals of the Khmer people in Southeast Vietnam as well as the Mekong Delta – Southwest Vietnam. The festival reflects many distinctive features: from customs, beliefs, to various forms of art, and even the communal relationships of the Khmer people. After a period of interruption due to wars and unrest, the festival has been restored in recent years. However, due to the unique natural conditions, historical and social circumstances, alongside similarities, the Sen Dolta festival of the Khmer in Southeast Vietnam has transformed and developed distinct cultural characteristics compared to the Khmer in other regions. Based on Max Weber's theoretical perspective on power and combined with ethnographic fieldwork methods, this article presents the unique cultural features of the Sen Dolta festival of the Khmer in Southeast Vietnam. It also analyzes and explains the factors influencing the transformation of the festival, particularly focusing on the role and authority of the abbot monks in Theravada Buddhist temples in reviving the traditional festival of the Khmer in contemporary Southeast Vietnam.

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Nguyen, Bach Thi Truc. "SOUTHERN CAI LUONG: CURRENT SITUATION AND ORIENTATION TO PROMOTION OF ITS VALUES OF CULTURAL HERITAGE". Scientific Journal of Tra Vinh University 1, n.º 31 (1 de septiembre de 2018): 29–38. http://dx.doi.org/10.35382/18594816.1.31.2018.5.

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Cai Luong is a unique stage art of Southern Vietnam and original cultural and artistic product of the nation. Over 100 years of existence and development, today’s Cai Luong is a new trend in the era of international integration. Within the scope of this paper, the writer analyses and evaluates this type of art based on data collected and recorded during the field trips in the Southern Vietnam region (since 2014 up to present). This research finding reflects the real life of Cai Luong in the South and proposes the solutions. Specifically, from difficulties and challenges identified by the authors, directors, audiences of Cai Luong, this paper proposes the practical solutions in two aspects: cultural and artistic management and application of interdisciplinary studies into subjects such as Literature, Cultural studies and Arts studies toward preserving and developing the values of cultural heritage of the Cai Luong stage in the contemporary context.

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45

Stallabrass, Julian, Alex Fletcher y Andrew Fisher. "Killing for Show: Interview with Julian Stallabrass". Philosophy of Photography 13, n.º 2 (1 de octubre de 2022): 183–205. http://dx.doi.org/10.1386/pop_00058_7.

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This interview with the art historian and curator Julian Stallabrass was conducted by Alex Fletcher and Andrew Fisher over the winter of 2022–23. It takes as its point of departure Stallabrass’s recent and large-scale study Killing for Show: Photography, War, and the Media in Vietnam and Iraq (2020), in order to consider the changing ways in which images have been used to both document and to wage war. The interview explores Stallabrass’s central historical contrast between photography in the Iraq and Vietnam Wars. It considers the relative critical values of photojournalism and art in their engagements with violence and what the problems and possibilities of photojournalism tell us about the wider fate of liberal notions of the public sphere. The interview ends by linking these themes in Killing for Show to the photographic mediation of current conflicts and the visual cultures of contemporary capitalism.

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46

Berry, Marsha. "Mannequins and Motorcycles in Vietnam: A Tale of an Evolved Art Video". Leonardo 44, n.º 2 (abril de 2011): 174. http://dx.doi.org/10.1162/leon_a_00121.

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The nexus between art and science has been increasingly recognized as a research area. In this paper the author discuss how she used genetic algorithms for her art practice. She refers to technical aspects only where they are directly relevant to her process. The algorithm simulates drawing by rendering image sequences using a target image such as a photograph. The first rendered image is a random placement of brush strokes. The final image closely resembles the target image. She used the image sequences to create a video work interrogating contemporary Vietnamese icons — mannequins and motorcycles.

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47

Silver, Larry. "The Deal of the Art: Art History from Renaissance to Early Modern and from Vietnam to Trump". Sixteenth Century Journal 50, n.º 1 (1 de marzo de 2019): 37–42. http://dx.doi.org/10.1086/scj5001005.

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48

Kieu, Trung Son. "Preserving the epics of the Central Highlands in Vietnam". Russian Journal of Vietnamese Studies 7, n.º 3 (29 de junio de 2023): 66–74. http://dx.doi.org/10.54631/vs.2023.73-511476.

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This article is based on the ideas of a presentation at the scientific seminar "The epics of the Central Highlands - Preservation and promotion solutions" planned by the Institute of Social Sciences in the Central Highlands of the Vietnamese Academy of Social Sciences. It was then postponed in late 2017 and has yet to be implemented. In keeping with the theme of the workshop, the purpose of this article is to present a perspective on the preservation of the epics through performance in the community. This point of view derives from viewing Central Highlands epics as a performing art, a form of cultural practice that still exists. These are living epics, not published epics. Based on the results of ethnographic fieldwork combined with the method of analyzing the art of singing-speech, we discuss the stated prospects for preservation, point out the shortcomings of applying the methods of preservation of Central Highlands epics in practice, and then give our opinion. The Central Highlands epic should be preserved as it existed in its traditional context. It should be heard more often in the community through the lyrics of the artist.

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Johansson, Perry. "Resistance and Repetition: The Holocaust in the Art, Propaganda, and Political Discourse of Vietnam War Protests". Cultural History 10, n.º 1 (abril de 2021): 111–32. http://dx.doi.org/10.3366/cult.2021.0233.

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The Western European protest movement against the American War in Vietnam stands out as something unique in contemporary history. Here finally, after all the senseless horrors of the twentieth century, reason speaks, demanding an end to Western atrocities against the poor South. But in the rosy fog of humanistic idealism and youthful revolution lies the unanswered question, why did this and not any other conflicts, before or after, render such an intense, widespread reaction? Taking Sweden as a case in point, this article employs the concepts of resistance, trauma, memory, and repetition to explore why the Vietnam movement came into being just as the buried history of the Holocaust resurfaced in a series of well-publicized trials of Nazi war criminals. It suggests that the protests of the radical young Leftists against American “imperialism” and “genocide” were informed by repressed memories of the Holocaust. The Swedish anti-war protests had unique and far-reaching consequences. The ruling Social Democratic Party, in order not to lose these younger Left wing voters to Communism, also engaged actively against the Vietnam War. And, somewhat baffling for a political party often criticized for close ties to Nazi Germany during WWII, its messaging used the same rhetoric as the Far Left, echoing Nazi anti-Semitic propaganda.

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Foley, Kathy. "The Metonymy of Art: Vietnamese Water Puppetry As a Representation of Modern Vietnam". TDR/The Drama Review 45, n.º 4 (diciembre de 2001): 129–41. http://dx.doi.org/10.1162/105420401772990379.

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What is the process that makes a specific genre into a symbol of an entire nation? What are the larger issues raised by the metonymy of art? As Vietnam prepares to enter the “world market”, its water puppet theatre enacts rural ideals and socialist ideas.

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