Bibliografías temáticas / Portraits – Vietnam

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Literatura académica sobre el tema "Portraits – Vietnam"

Autor: Grafiati
Publicado: 29 de marzo de 2025

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Artículos de revistas sobre el tema "Portraits – Vietnam"

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Curley, Melissa. "Vietnam: Portraits and perspectives". Pacific Review 11, n.º 1 (enero de 1998): 142–49. http://dx.doi.org/10.1080/09512749808719248.

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Starecheski, Amy. "In Our Own Words: Portraits of Brooklyn's Vietnam Veterans". Journal of American History 96, n.º 1 (1 de junio de 2009): 149. http://dx.doi.org/10.2307/27694735.

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Ching, Kylie. "Giving Form to Refugee Memory: Ann Le’s Embody Wallpaper Portraits". Asian Diasporic Visual Cultures and the Americas 8, n.º 3 (5 de enero de 2024): 307–28. http://dx.doi.org/10.1163/23523085-08030003.

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Abstract In Vietnamese American artist Ann Le’s 2012 Embody Wallpaper Portraits series, wallpaper designs of repeating collaged and silhouetted documentary Vietnam War photographs cover the skin and faces of the artist’s own family portraits. The bodies of these haunting and preserved figures serve as sites of forged encounter between public and private photographic archives and commemoration. This article considers two works from this series, titled Mother Refuge and Re Education Graduation, which examine motherhood and the nation-state of the United States as sites that (un)make refuge(es) and question the relationship between re-education camps in Vietnam and the US education system as sites of indoctrination respectively. Theorizing collage as an art practice that prompts a relational analysis of the different war events, I argue that by suturing together seemingly disparate histories, memories, places, and photographs, Le makes visible and invisible the gendered and racial violence that sustains US imperial projects.
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SILLIN, SARAH. "American Sympathizers: Confessing Illicit Feeling from the Civil War to the Vietnam War". Journal of American Studies 53, n.º 3 (6 de abril de 2018): 613–35. http://dx.doi.org/10.1017/s0021875818000026.

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Portraits of sympathizers recur across American literature, from nineteenth-century narratives by Edward Everett Hale Jr., Loreta Velazquez, and Walt Whitman to Viet Thanh Nguyen's twenty-first-century novel. Together, their texts elucidate why this understudied trope remains provocative. Whereas nineteenth-century literature often imagines how sympathy fosters national cohesion, feeling for the enemy threatens such stability and prompts government efforts to regulate sentiment. Sympathizers may perform loyalty to claim the authority associated with white masculinity. Yet they also gain power by confessing to criminal sentiments. This figure thus embodies fantasies of rebellion, fears of national dissolution, and the state's affective power.
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Lee, Jiyeon y Grace H. Chung. "Bi-ethnic Socialization of Marriage Migrant Women from Vietnam: The Five Practices at the Intersection of Hierarchies". Family and Environment Research 58, n.º 3 (20 de agosto de 2020): 375–90. http://dx.doi.org/10.6115/fer.2020.027.

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This paper explored the marriage migrant mothers’ experiences of parenting bi-ethnic children in South Korea based on the concepts of ethnic socialization and intersectionality. We analyzed in-depth interviews of 22 marriage migrant women from Vietnam residing in the capital region of South Korea. They had at least one child whose biological father is Korean. Children were 5 years old or older, attending preschool or elementary school. Five types of bi-ethnic socialization strategies were identified, which provide portraits of different situations in which marriage migrant women were placed. The five strategies that emerged from the data were 1) “Natural practice of bi-ethnic socialization” including two heterogeneous groups, “Coexistence of two cultures” and “Mixture of two cultures”, 2) “Active practice of bi-ethnic socialization”, 3) “Struggling practice of bi-ethnic socialization”, 4) “Silence on bi-ethnic socialization”, and 5) “Suppressed bi-ethnic socialization”. The strategies of bi-ethnic socialization that marriage migrant women chose to raise their children reflected personal perceptions of Korean society and individual ethnic identity formed within Korean society. This study complements existing research on ethnic socialization by examining how ethnic socialization practices are shaped by multiple contexts marriage migrant women embedded in Korean society.
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Nguyen, Thien y Shoshana Goldstein. "Exploring the Digital Practices of the Youth". Journal of Public Space 9, n.º 2 (6 de noviembre de 2024): 199–208. http://dx.doi.org/10.32891/jps.v9i2.1796.

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This paper focuses on the evolving dynamics of digital youth engagement in revitalising public spaces, presenting a compelling case study of the Saigon Zoo-Botanical Garden in Ho Chi Minh City, Vietnam. The Saigon Zoo and Botanical Garden (also known as Saigon Zoo) was once a popular entertainment hub. However, during the 2000s, there was a gradual decline in interest among young visitors, attributed to negative narratives in the public media. This decline almost led to closure amid the global COVID-19 pandemic. Aware of the situation, the youth began to embrace a proactive role in promoting the site through social media. They shared delightful moments of the zoo’s animals, setting a trend for taking portraits against the backdrop of its picturesque botanical scenery. Through both physical and digital involvement, the youth breathed fresh life into this historical destination, engaging in acts of photo-taking and photo-sharing when visiting the Saigon Zoo. This study explores the case of the Saigon Zoo, examining how digital involvement influences the youth’s perception and engagement with space. Given the nature of this study, the interview process and Photovoice method were employed to understand the digital-related behaviours of the youth. The findings underscore the positive impact of digital engagement on well-being while emphasising the need for a balanced approach to foster optimal engagement.
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Jammes, Jérémy. "New vietnam through the eyes of its people". Russian Journal of Vietnamese Studies, n.º 5S (16 de diciembre de 2021): 122–23. http://dx.doi.org/10.54631/vs.2021.s-122-123.

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The review is given for the book Vietnamese. Lifelines of a People by Benot de Trglod. 26 interviews with Vietnamese men and women of different ages and places of residence, professions and social status create a portrait of the Vietnamese people, a picture of their current life, character, beliefs and culture.
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Masny, Patryk. "Obraz wojny w Wietnamie w komiksie The Other Side". Prace Historyczne 149, n.º 4 (6 de julio de 2023): 741–65. http://dx.doi.org/10.4467/20844069ph.22.032.17859.

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The purpose of this article is to present the portrait of the Vietnam War (1965–1975) in the comic book The Other Side by Jason Aaron and Cameron Stewart, from the point of view of the historian researching this conflict. I analyze this comic in two dimensions: juxtaposing its narrative with historical reality and with other narratives about the Vietnam War present in American culture. I examine if The Other Side repeats some of the “Vietnam war myths” as well, especially because of the claims of its authors. I take a closer look to discern what interpretation of the history of the Vietnam War was made in the comic. I also present how the authors used events, characters and historical terms to give their work an anti-war overtone. The influence of fiction, memoirs and works of writers such as Ambrose Bierce, Gustav Hasford as well as the reporter group called Snuffies on the final shape of the comic is also discussed.
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Tienh Nguyen, Din, Valérie Olivier, Pierre Sans, Denis Sautier y Guillaume Duteurtre. "Transition alimentaire et essor économique : portrait en régions de la consommation de viandes au Vietnam". Économies et Sociétés. Systèmes agroalimentaires 48, n.º 1036 (2014): 1559–78. http://dx.doi.org/10.3406/esag.2014.1152.

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Depuis 25 ans, la consommation alimentaire au Vietnam suit un processus de transition et tend à adopter un modèle alimentaire plus carné. Cet article étudie les facteurs socio-économiques qui, en 2010, marquent cette tendance. Les données mobilisées sont extraites des enquêtes nationales sur le niveau de vie des ménages (Vietnam Household Living Standards Survey) menées par le GSO. L’analyse montre que les critères socio-économiques classiques (revenu, éducation…) expliquent mieux en région les dépenses alimentaires des ménages que la consommation de viandes fraîches.
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Pointon, Marcia. "Imaging Nationalism in the Cold War: The Foundation of the American National Portrait Gallery". Journal of American Studies 26, n.º 3 (diciembre de 1992): 357–75. http://dx.doi.org/10.1017/s002187580003111x.

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In October 1968 the American Embassy in Grosvenor Square, London was under siege from students protesing against the continued American presence in Vietnam. In France the universities were in turmoil. The Washington Post for 6 October covered the Apollo Flight – the first step to the moon–, uprisings in Columbia university, Twiggy in person and a debate about when the Bikinians might return to their island. Nixon was edging his way towards the presidency in a year that had seen the assassinations of Robert Kennedy and Martin Luther King, a year in which Johnson decided not to stand for another term in order (allegedly) to devote himself to ending the Vietnam war, in which the Democratic convention took place in Chicago in the midst of violent clashes between police and demonstrators.
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Tesis sobre el tema "Portraits – Vietnam"

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Henni-Trinh, Duc Nicolas. "Le portrait dans l'art vietnamien. Évolution des usages, des techniques et de l'iconographie sous la dynastie Nguyễn (1802-1945)". Electronic Thesis or Diss., Sorbonne université, 2025. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2025SORUL007.pdf.

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Le portrait est une thématique omniprésente dans l'art et la culture visuelle vietnamienne ; pourtant ce sujet n'a jamais fait l'objet d'une étude systématique. Cette étude s'emploie à combler cette lacune en analysant l'évolution des usages, des techniques et de l'iconographie des portraits sous la dynastie Nguyễn (1802 - 1945). Elle débute par la mise en évidence des origines bouđhiques et taoïques des rites et des représentations, avant d'examiner l'absorption de la pratique du portrait par l'éthos confucéen populaire. Les bouleversements socio-politiques qui traversent la période étudiée et exercent une influence décisive sur le portrait sont ainsi explorés tour à tour. La curiosité technologique des Nguyễn mène à l'adoption, certes tardive, de la photographie, rapidement intégrée au culte des ancêtres. Dans le même temps, l'incursion d'une approche occidentale de l'individu mais aussi des beaux-arts, conduit à un renouvellement des modes d'expression utilisés par les auteurs de portraits. Enfin, la conquête coloniale du territoire et l'affaiblissement politique progressif de la cour impériale aboutissent à une multiplication des images de l'empereur, quand jusqu'alors il était interdit de le regarder. Fondée sur l'analyse détaillée d'un corpus de portraits, en tant qu'images et objets, associée à des sources textuelles contemporaines, cette étude s'attache à révéler les différentes fonctions du portrait : cultuel, sentimental, politique. Elle dévoile en particulier le rapport singulier qui unit le portrait à la mort, et comment il exprime et outille une forme de négation de l'absence. Finalement, elle explore la question complexe de la ressemblance, unité plastique des portraits entre eux et attente d'une conformité de l'image au modèle
Portraits are ubiquitous in Vietnamese art and visual culture, yet the subject has never been extensively studied. This study aims at addressing this gap by analysing the evolution of the usage, techniques, and iconography of portraits during the Nguyễn dynasty (1802-1945). It begins by bringing to light the Buddhist and Taoist origins of rites and representations, before examining the absorption of the portrait practice by a popular Confucian ethos. The socio-political upheavals marking the studied period, and decisively influencing portraits, are sequentially explored. The technological curiosity of the Nguyễn dynasty leads to the adoption of photography, quickly included in the ancestral worship system. At the same time, the incursion of a Western approach of the sense of individuality as well as of the fine-arts practice, results in a renewal of the modes of expression used by the authors of portraits. Finally, the colonial conquest of the territory and the progressive weakening of the imperial court culminate with the multiplication of portraits of the emperor, whereas heretofore it was strictly forbidden to look at him. Based upon a detailed analysis of a large portrait corpus, both as image and object, combined with contemporary textual sources, this study seeks to reveal the various functions of portraits: cultual, sentimental, political. Notably, it uncovers the special bond between portraits and death, and how portraits translate and equip a certain negation of the absence. Finally, the study explores the complex question of resemblance; the unity of style between portraits and the expectation of a conformity between the image and the model
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Libros sobre el tema "Portraits – Vietnam"

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Pictet, Christine. Femmes du Vietnam: Visages d'hier & de demain. Mane: Editions de l'Envol, 1996.

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Stanek, Muriel. We came from Vietnam. Niles, Ill: A. Whitman, 1985.

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3

Bennett, Terry. Early Photography in Vietnam. GB Folkestone: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9781912961047.

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Early Photography in Vietnam is a fascinating and outstanding pictorial record of photography in Vietnam during the century of French rule. In more than 500 photographs, many published here for the first time, the volume records Vietnam’s capture and occupation by the French, the wide-ranging ethnicities and cultures of Vietnam, the country’s fierce resistance to foreign rule, leading to the reassertion of its own identity and subsequent independence. This benchmark volume also includes a chronology of photography (1845–1954), an index of more than 240 photographers and studios in the same period, appendixes focusing on postcards, royal photographic portraits, Cartes de Visite and Cabinet Cards, as well as a select bibliography and list of illustrations.
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1953-, Liesbrock Heinz, ed. Living with war: Portraits : Vietnam Veterans Memorial, Gulf War, protest the war. Göttingen: Steidl, 2008.

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Rhodes, Marvin. Testify!: Vietnam veterans in photographs & interviews. Decatur, Ga: Rhodes Pub. Project, 1985.

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6

Nelson, James Davis. Vietnam War paintings. Clinton, LA (18697 Hwy 10 East, P.O. Box 8187, Clinton, LA 70722): St. John's Press, 2003.

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7

Bledsoe, Sherman. Portraits of patriots. Dallas, Tex: Quarry Press, 2004.

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8

Stanek, Muriel. We came from Vietnam. Niles, Ill: A. Whitman, 1985.

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9

Stanek, Muriel. We came from Vietnam. Niles, Ill: A. Whitman, 1985.

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10

Vietnam. Quân đội nhân dân. Bộ chỉ huy quân sự Thành phố Cần Thơ., ed. Tiểu đoàn Tây Đô. [Cà̂n Thơ: Bộ chỉ huy quân sự Thành phó̂ Cà̂n Thơ], 2005.

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Capítulos de libros sobre el tema "Portraits – Vietnam"

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Hoy, Pat C. "The Beauty and Destructiveness of War: A Literary Portrait of the Vietnam Conflict". En A Concise Companion to Postwar American Literature and Culture, 168–86. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470756430.ch7.

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Bendroth, Margaret. "Afterword". En Good and Mad, 183—C10.P13. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197654064.003.0011.

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Abstract This portrait centers on an incident in 1969, when Presbyterian churchwoman Cynthia Wedel was about to be elected president of the National Council of Churches (NCC), the first woman to achieve this honor. The meeting was a sustained uproar, however, repeatedly interrupted by activists protesting the Vietnam War, and then by Black churchmen with a Manifesto and a direct demand that the NCC elect Albert Cleage. In the course of events, Wedel was literally kidnapped and detained in a hotel room, told to stand down from the election in deference to Cleage. She refused and became NCC president, but as a woman in leadership—and representative of an older nonfeminist generation—had to walk a fine line, one that was familiar to the other women described in previous portraits.
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Blair, Sara. "After the Fact". En Remaking Reality, 120–50. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469638690.003.0007.

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In “After the Fact: Postwar Dissent and the Art of Documentary,” Sara Blair analyzes the redirection of photo-documentary practice by visual artists Richard Avedon and Martha Rosler. Specifically, the chapter emphasizes the self-consciousness with which postwar figures represent and conduct their labor for a context of urgent social crisis and dissent. Both photographers experiment with the properties and forms of documentary imaging, wrested from its familiar contexts: Avedon in an evolving series of portraits of New Left leaders, activists, war prosecutors, and dissidents made in the United States and on the ground in Vietnam, Rosler in projects focusing on the role of photojournalism, documentary, and the media itself in perpetuating both a fog of war and a set of presumptions about documentary as a form of knowledge and power.
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Valkeakari, Tuire. "War, Trauma, Displacement, Diaspora". En Precarious Passages. University Press of Florida, 2017. http://dx.doi.org/10.5744/florida/9780813062471.003.0004.

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This chapter examines Toni Morrison’s and Caryl Phillips’s portraits of African American troops in World War I, World War II, and Vietnam. These authors’ stories of African American soldiers and veterans bring together two topic areas that may, at first glance, seem to have little to do with each other: war and diaspora. This chapter interrogates the complex relationship between diasporic subjectivity and national citizenship. Utilizing Caruthian trauma theory, it reveals how Morrison, in Sulaand Tar Baby, and Phillips, in Crossing the River, subtly link their narratives of temporary traumatic displacement on foreign battlefields with the historical ur-trauma of diasporic dislocation. In these novels, the wounds that the Middle Passage and slavery inflicted on black diasporic bodies and psyches metaphorically bleed into, and coalesce with, traumas and post-traumatic conditions resulting from black participation in modern warfare—participation that both Morrison and Phillips depict in terms of young black men being sent abroad to fight destructive and traumatizing wars that are not theirs to fight. The literal and metaphorical connections that Morrison and Phillips forge between war and diaspora in various ways call attention to the greed and large-scale violence that have all too often accompanied the Western project of modernity.
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"Portrait of a soldier". En The Vietnam War 1956-1975, 65–68. Routledge, 2003. http://dx.doi.org/10.4324/9780203500095-7.

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"Portrait of a civilian". En The Vietnam War 1956-1975, 83–87. Routledge, 2003. http://dx.doi.org/10.4324/9780203500095-9.

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Ngoei, Wen-Qing. "Silver Screen Reversals of the Domino Theory: American Cold War Movies and the Re-imagining of Britain’s Experience in Southeast Asia*". En Remapping the Cold War in Asian Cinemas. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2024. http://dx.doi.org/10.5117/9789463727273_ch09.

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This essay argues that, as US involvement in Vietnam deepened, films like The 7th Dawn (1964) and King Rat (1965) served as cultural spaces to envision, perform, and contest an American victory over Asian communism. The 7th Dawn portrays Britain’s anticommunist struggle in 1950s Malaya, wherein a US counterinsurgency expert uses his skills against Malayan communist guerrillas. King Rat, set in Japanese-occupied Singapore during World War Two, showcases a lowly American corporal somehow thriving in a POW camp while imprisoned British off icers suffer. These f ilms indulged fantasies that Americans might supersede Britain’s record in Southeast Asia, exuding optimism about US involvement in the region while wrestling with the fatalism of President Eisenhower’s “domino theory” that communism would sweep Southeast Asia.
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Barrett, Janet Revell. "Connecting Contexts". En Seeking Connections, 162–85. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197511275.003.0008.

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Abstract Music’s situatedness in time and place, and the way it moves through eras and social milieux, implicates its close ties to history, calling music educators to interrogate the nature of these relationships. An elementary music teacher’s aim to foster historical empathy by teaching a unit on the Underground Railroad opens up questions of historical validity of song material, representations of enslaved persons in children’s literature, and critical reappraisal of curricular mythologies. A contemporary concert drama focused on one day in the life of a US president portrays how a graduate student created a series of mini-courses for singers and instrumentalists to deepen their understanding of the historical conflicts related to the murder of three civil rights workers, and the threat of attack in international waters that prompted US escalation in the Vietnam War. These cases call for greater attention to historical context and contemporary controversies in the music curriculum.
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"Introduction". En World War II, Film, and History, editado por John Whiteclay Chambers II y David Culbert, 3–12. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195099669.003.0001.

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Abstract “War is cinema and cinema is war,” French critic Paul Virilio asserts, and he is not far from the mark. Film and television depictions of war have evolved into the perceived “reality” of war. War films—including antiwar films—have established the prevailing public images of war in the twentieth century. For American audiences, the dominant image of trench warfare in World War I has been provided by features such as All Quiet on the Western Front (U.S., 1930) and Paths of Glory (U.S., 1957). The image of combat in World War II remains shaped for American audiences by films like Sands of lwo Jima (U.S., 1949) and The Longest Day (U.S., 1962), which portrays D-Day. Despite claims for the impact of widespread television coverage of the Vietnam War, it is probably pictures like Apocalypse Now (U.S., 1979) and Platoon (U.S., 1986) that have provided a subsequent generation with the most powerful images of what is seen as the “reality” of that much disputed conflict.
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Schulzinger, Robert D. "“Good Intentions, a Clear Conscience, and to Hell with Everybody”: May 1954–December 1960". En A Time for War, 69–96. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195071894.003.0004.

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Abstract In late 1955 Graham Greene, an English novelist, published The Quiet American, a bitter story of a love triangle involving a youthful and apparently naive American embassy official, a world-weary British journalist, and a beautiful young Vietnamese woman attempting to survive the chaos of the final days of French rule in Indochina. The names of Greene’s characters seemed to leap from the pages of the works of Charles Dickens. The endlessly soliloquizing American named Alden Pyle was indeed an unrelenting pain to many of the people he encountered in Saigon. Thomas Fowler, the cynical, disengaged British reporter, was Pyle’s rival for Phuong, the Vietnamese woman. Phuong pronounced Fowler’s name Fowl-aire, representing the stale and fetid attitudes of old European powers. For her part, Phuong’s name called to mind a phoenix, rising from the ashes of colonial rule. Greene drew a devastating portrait of an American innocent marching down the road to hell. Pyle had studied Asian history at Harvard University, and he had come to Vietnam, “determined,” Fowler recalled, “to do good, not to any individual person but to country, a continent, a world.”
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