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373 CONCLUSION Throughout the 20Th Century, Vieät-Nam Was at The
CONCLUSION Throughout the 20th century, Vieät-Nam was at the intersection for most of the international powers in politics and culture: France, China, the Soviet Union, and the United States. For more than a century, the changes in aesthetics in Vieät-Nam roughly followed the course of the nation’s relations with these foreign powers. Inevitably, they left their traces in Vietnamese culture, more or less, according to their approaches to Vieät-Nam. The conclusion locates these changes at four turning points in Vietnamese art history and reviews Socialist Realism in the post-doi moi context. Consideration is also given to the introduction of alternative art schools that might challenge current Vietnamese institutions and help nurture a new generation of creative visual artists. Such institutions might fill the gaps between current Vietnamese art theory and practice and their relationship to the global art world. These alternative art schools could also disseminate a more complete and objective account of Vieät-Nam’s art history, which as outlined in the introduction, is one of the governing principles of this thesis. The four turning points: The four turning points of change are: the introduction of western influences under colonialism, the adoption of Socialist Realism in North Vieät-Nam, the pursuit of individuality and expressive art in South Vieät-Nam and the transformation in visual arts under doi moi. At the beginning of the 20th century, the first influential turning point was already in progress with the imposition, in the late 19-century, of French colonial values, which were, and still are, most apparent in the architectural landscape and the adoption of western styled clothing. -
The Living of Religious and Belief in Vietnamese History Pjaee, 18(7) (2021)
THE LIVING OF RELIGIOUS AND BELIEF IN VIETNAMESE HISTORY PJAEE, 18(7) (2021) THE LIVING OF RELIGIOUS AND BELIEF IN VIETNAMESE HISTORY Trinh Thi Thanh University of Transport and Communications, No.3 CauGiay Street, Lang Thuong Ward, Dong Da District, Hanoi, Vietnam. Trinh Thi Thanh , The Living Of Religious And Belief In Vietnamese History , Palarch’s Journal Of Archaeology Of Egypt/Egyptology 18(7). ISSN 1567-214x. Keywords: The living of religious and belief,feudal dynasties, history, Vietnamese. ABSTRACT: Vietnam is a country with many religions and beliefs. Vietnamese people have a long tradition of living and religious activities. The ethnic groups in the Vietnamese ethnic community have their own beliefs associated with their economic and spiritual life. Currently, Vietnam has about 95% of the population having beliefs and religions but their beliefs are not deep, one believes in many different types of beliefs or follows both religion and beliefs. In Vietnam, there are about 45,000 establishments with about 15,000 people specializing in religious activities, and there are nearly 8,000 festivals. Historically and in the present, all religions in Vietnam have the direction and motto of the practice of sticking with the nation, actively participating in patriotic emulation campaigns and movements on the scale, along with the government solving people's difficulties, and oriented development of religious resources have brought into play well, serving the cause of national construction. This research focuses on analyzing religious belief activities in history (from the Ly Dynasty to Tay Son Dynasty), from there giving comments and assessment of the position and son of religions in the process development of the nation. -
WANDERING SOULS Journeys with the Dead and the Living in Viet Nam
WANDERING SOULS Journeys with the Dead and the Living in Viet Nam Please join award-winning author Wayne Karlin for a discussion of his novel, which brings to light the grace and courage of a soldier who brought back the soul of the man he killed to that man’s family, taking onto himself their own rending grief. It is also the story of the mercy of a family – and an entire village – who took that soldier to their hearts and allowed their gratitude at the ending he brought to their story to outweigh their need to hate him for the death that began it. A powerful portrait of the terrible price of war on soldiers and families, WANDERING SOULS reveals a way to heal by finding one’s own humanity mirrored in the lives of people who had once tried to kill each other. THURSDAY, NOVEMBER 8TH LIBRARY 321 4:10 PM Wayne Karlin served in the Marine Corps in Viet Nam. He is the author of numerous books of fiction and nonfiction, including Lost Armies, The Wished-For Country, Rumors and Stones, Prisoners, and Marble Mountain. He is co-editor, with Le Minh Khue and Trong Vu, of The Other Side of Heaven: Post-War Fiction by Vietnamese and American Writers. His articles, essays, and book reviews have appeared in, among other publications, the Washington Post, Los Angeles Times, Baltimore Sun, and The Nation. In 1998, he was awarded the Paterson Prize in Fiction, and in 2005, he received an Excellence in the Arts Award from the Vietnam Veterans of America. -
University of California Santa Cruz the Vietnamese Đàn
UNIVERSITY OF CALIFORNIA SANTA CRUZ THE VIETNAMESE ĐÀN BẦU: A CULTURAL HISTORY OF AN INSTRUMENT IN DIASPORA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by LISA BEEBE June 2017 The dissertation of Lisa Beebe is approved: _________________________________________________ Professor Tanya Merchant, Chair _________________________________________________ Professor Dard Neuman _________________________________________________ Jason Gibbs, PhD _____________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures .............................................................................................................................................. v Chapter One. Introduction ..................................................................................................................... 1 Geography: Vietnam ............................................................................................................................. 6 Historical and Political Context .................................................................................................... 10 Literature Review .............................................................................................................................. 17 Vietnamese Scholarship .............................................................................................................. 17 English Language Literature on Vietnamese Music -
Art at the Crossroads: Lacquer Painting in French Vietnam
126 Art at the Crossroads Art at the Crossroads: Lacquer Painting in French Vietnam Lisa Bixenstine Safford, Hiram College During the last phase of French occupation in Vietnam (1887–1954), a new and unique direction for pictorial arts was inaugurated that continues to inform the country’s art scene to this day.1 In a culture that lacked a developed painting tradition from which to draw inspiration, painting with lacquer formed a distinctive and novel medium that could be applied to fresh artistic subjects. In 1925 the arts first began to evolve rapidly thanks to the creation of the École Superieure de Beaux Arts d’Indochine, a new school in Hanoi that was founded by the relatively unknown French painters Victor Tardieu (1870– 1937) and Joseph Inguimberty (1896–1971).2 Together with other artists such as Nguyễn Vạn Thọ (1890–1973, better known as Nam Sơn), who was sent to Paris for a year of training in 1924 for his new post as an art instructor,3 they embarked on a mission civilisatrice to educate promising artisans (thợ vẽ) so that they would advance to the status of “artists” (hoạ sĩ) and subsequently sign their works as individual creators.4 The French colonial view that La France d’Asie possessed no distinctive artistic and cultural identity was central to the school’s inception.5 Thus, the school set about creating a new cultural identity that was grafted from a modernist French pictorial language of art. The students’ training in European artistic styles eventually merged with East Asian and indigenous wood-based, folk craft sources, the privileging of which can be read as a rejection of French style. -
Locating Vietnamese Contemporary Art Scene
Locating Vietnamese contemporary art scene An ethnographic Hong-Ngoc TRIEU attempt from afar TRI14437741 Abstract. Initially, as a student majored in Design Cultures, I was intrigued in Vietnam precisely because I barely knew anything about the art history of my country. Having exposed to the studies of Design Cultures and Histories, I set out to fnd how Vietnamese art history is chronicled by putting it in a complex relationship with the sociocultural and political background. Identifying and locating art from a place like Vietnam that rarely fgures in art history cannot be done overnight as I am thousand miles away from the happenings. This essay, thus, is my humble attempt to look at Vietnam’s contemporary art scene through an afar-ethnographic approach mainly by fexible design methods such as interview, survey, case study, discourse analysis and participant observation. Given how little experience in the real-world research and history learning that I possess, my fndings are based on personal analysis, percep-on and hence, do not necessarily reflect other’s views on the same topic. Entrance to contemporary art scene: tracing the Vietnamese art history In order to investigate the Vietnamese reform in 1986, where restriction on contemporary art scene, I am essentially artistic creativity were steadily relaxed asking the question of how it is and hence allowed artist greater freedom constructed and perceived within the art of expression and facilitating exposure to community and the stream of Vietnamese contemporary trends in both Asian and history of art. While world contemporary Western art. However, unlike the world art had started and risen to prominence contemporary art with its rich outline of since the 1950s - 1960s, its Vietnamese artistic movements in term of quantity, counterpart only came into existence in the diversity and quality, Vietnamese latter decades of the twentieth century; contemporary art scene has barely seen therefore, it is relatively new to the public. -
Vietnamese Aesthetics from 1925 Onwards
CHAPTER 3: VIETNAMESE SOCIALIST REALISM: THE ARTS OF THE DEMOCRATIC REPUBLIC OF VIEÄT-NAM (THE NORTH) 1945-1975 Figure 1: Communal House at Döông Xaù Village, Gia Laâm District in Haø Noäi’s outskirts, photograph taken by Boi Tran Huynh. 131 This chapter examines the change in Vietnamese aesthetics in the Democratic Republic of Vieät-Nam, hereafter ‘the North’, from 1945 to 1975. In this era, Socialist Realism was established and applied to every aspect of the arts, which became a vehicle to serve the ideology of Marxism. Its relations shaped Vieät- Nam’s international agenda with the Communist bloc, especially with the Soviet Union and the People’s Republic of China. During this period, Vieät-Nam adopted and developed these two influences while the French influence became subtler. The conflict between North and South Vieät-Nam led to an emphasis on the fabrication of new aesthetics, aimed toward forging a national identity within the orbit of international Communism. Simultaneously, attempts were made to eliminate individualism in the art of Modernism with the assertion that it represented western decadent bourgeois art. Interestingly, it was in this context that a number of artists deviated from the Socialist mainstream and, through personal style and expression, produced artworks that counterbalanced the official view. Also, two private art collectors established themselves as alternative patrons to the arts. COMMUNISM AS A WAY OUT OF COLONIALISM: Hoà Chí Minh, (fig2) founded the Democratic Republic of Vieät-Nam on the 2nd of September 1945. In the Independence Declaration that he delivered in Ba Ñình Square to some 400,000 freedom-hungry Vietnamese and a small number of World War II American officers and other foreigners, Hoà Chí Minh deliberately used quotes from the 1776 American Declaration of Independence and the 1789 French Declaration of the Rights of Man and the Citizen. -
The Growing Salience of Online Vietnamese Nationalism
THE GROWING SALIENCE OF ONLINE VIETNAMESE NATIONALISM Dien Nguyen An Luong TRENDS IN SOUTHEAST ASIA ISSN 0219-3213 TRS11/21s ISSUE ISBN 978-981-4951-89-0 30 Heng Mui Keng Terrace 11 Singapore 119614 http://bookshop.iseas.edu.sg 9 789814 951890 2021 TRENDS IN SOUTHEAST ASIA 21-J07715 01 Trends_2021-11.indd 1 31/5/21 3:17 PM The ISEAS – Yusof Ishak Institute (formerly Institute of Southeast Asian Studies) is an autonomous organization established in 1968. It is a regional centre dedicated to the study of socio-political, security, and economic trends and developments in Southeast Asia and its wider geostrategic and economic environment. The Institute’s research programmes are grouped under Regional Economic Studies (RES), Regional Strategic and Political Studies (RSPS), and Regional Social and Cultural Studies (RSCS). The Institute is also home to the ASEAN Studies Centre (ASC), the Singapore APEC Study Centre and the Temasek History Research Centre (THRC). ISEAS Publishing, an established academic press, has issued more than 2,000 books and journals. It is the largest scholarly publisher of research about Southeast Asia from within the region. ISEAS Publishing works with many other academic and trade publishers and distributors to disseminate important research and analyses from and about Southeast Asia to the rest of the world. 21-J07715 01 Trends_2021-11.indd 2 31/5/21 3:17 PM THE GROWING SALIENCE OF ONLINE VIETNAMESE NATIONALISM Dien Nguyen An Luong ISSUE 11 2021 21-J07715 01 Trends_2021-11.indd 3 31/5/21 3:17 PM Published by: ISEAS Publishing 30 Heng Mui Keng Terrace Singapore 119614 [email protected] http://bookshop.iseas.edu.sg © 2021 ISEAS – Yusof Ishak Institute, Singapore All rights reserved. -
Migrant Labor and State Power: Vietnamese Workers in Malaysia and Vietnam
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Digital Commons @ CSUMB (California State University, Monterey Bay) California State University, Monterey Bay Digital Commons @ CSUMB SBGS Faculty Publications and Presentations Social Behavioral and Global Studies 6-2018 Migrant Labor and State Power: Vietnamese Workers in Malaysia and Vietnam Angie Tran California State University, Monterey Bay, [email protected] Vicki Crinis University of Wollongong Follow this and additional works at: https://digitalcommons.csumb.edu/sbgs_fac Recommended Citation Tran, Angie Ngoc, & Crinis, V. (2018). Migrant Labor and State Power: Vietnamese Workers in Malaysia and Vietnam. Journal of Vietnamese Studies, 13(2), 27-73. doi:10.1525/vs.2018.13.2.27 This Article is brought to you for free and open access by the Social Behavioral and Global Studies at Digital Commons @ CSUMB. It has been accepted for inclusion in SBGS Faculty Publications and Presentations by an authorized administrator of Digital Commons @ CSUMB. For more information, please contact [email protected]. RESEARCH ESSAY ANGIE NGỌ CTRẦ N AND VICKI CRINIS Migrant Labor and State Power: Vietnamese Workers in Malaysia and Vietnam he demands by global labor markets for foreign migrant workers to do Tthe jobs unwanted by local citizens play an important role in transna- tional labor migration. The Vietnamese state has responded to these global labor demands by sending workers to fill jobs overseas in order to address the unemployment and poverty issues at home. With an estimated .–. million Vietnamese citizens entering the labor market each year, the Vietnamese state has policies to promote global labor migration through as a poverty-reduction strategy. -
USING LITERATURE in a COURSE on the VIETNAM WAR Jonathan
USING LITERATURE IN A COURSE ON THE VIETNAM WAR Jonathan Goldstein West Georgia College In sharing my experience with team-teaching a course on the Vietnam War, I hope to demonstrate that the inclusion of literary texts into the social science curriculum can strengthen both pedagogy and interest. Teachers of college courses that focus on other aspects of United States involvement in the world may fmd some of the experience applicable to their concerns.1 The Vietnam War course we taught at West Georgia College in 1984 and again in 1987 used textbooks by Stanley Karnow, Guenter Lewy, and George Herring.2 The vast body of war-related literary works in French, Vietnamese, and English was untapped as a classroom resource. While the Vietnam experience may not yet have produced a Red Badge of Courage, an All Quiet on the Western Front, a Naked and the Dead, or the multilingual masterpieces of the Spanish Civil War, it has evoked, as Joe Dunn has suggested, a volume of war literature in three languages that expands year by year? The remainder of this paper is my recommendation for a revised curriculum for our Vietnam course, using literature as a major component of the curriculum. WHY INCLUDE LITERARY WORKS IN A VIETNAM WAR COURSE? There seem to be two reasons why some of this literature should be incorporated into a Vietnam War course. The first is a general one that might apply to other history courses. Literary texts, when used as supplements to analytical histories and historical documents, can raise cultural and historical consciousness. -
New Voices: Socio-Cultural Trajectories of Vietnamese Literature in the 21St Century
New Voices: Socio-Cultural Trajectories of Vietnamese Literature in the 21st Century NEW VOICES: SOCIO-CULTURAL TRAJECTORIES OF VIETNAMESE LITERATURE IN THE 21st CENTURY Dana HEALY School of Oriental and African Studies (SOAS), University of London Thornhaugh Street, Russell Square, WC1H 0XG London, UK [email protected] Many important changes have taken place in the domain of Vietnamese literature in the last two decades as the country embraced the new globalized consumer age. This article examines the ways in which contemporary Vietnamese literature responds to the new social and cultural milieu delineated by rapidly developing market economy, globalization, and rise in new technologies, mass media and the internet. It highlights the role of young generation of writers whose enthusiasm, unorthodox creativity, penchant for experiment and resentment of authority contributed to the transformation of Vietnamese literature from a ‘servant of revolution’ to the purveyor of entertainment, modernity and individualism. It also analyses the changes in the publishing industry and evaluates the role of the internet in Vietnam as a vital alternative space which can accomodate various forms of marginalized writing. Key words: Vietnamese literature, publishing, the internet, popular literature Introduction Contemporary literature in Vietnam derives its momentum from a new generation of writers. With their youthful enthusiasm, unorthodox creativity, penchant for experiment, resentment of authority and desire for freedom they are defying established Vietnamese -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title An assemblage of fragments : history, revolutionary aesthetics and global capitalism in Vietnamese/American literature, films and visual culture Permalink https://escholarship.org/uc/item/6wd3q8xv Author Võ, Ch'o'ng-Đài Ĥòng Publication Date 2009 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO An Assemblage of Fragments: History, Revolutionary Aesthetics and Global Capitalism in Vietnamese/American Literature, Films and Visual Culture A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Literature by Chương-Đài Hồng Võ Committee in charge: Professor Lisa Lowe, Chair Professor Rosemary Marangoly George Professor Yen Le Espiritu Professor Thu-Hương Nguyễn-Võ Professor Lisa Yoneyama Professor Yingjin Zhang 2009 Copyright Chương-Đài Hồng Võ, 2009 All rights reserved. The dissertation of Chương-Đài Hồng Võ is approved, and it is acceptable in quality and form for publication on microfilm and electronically: —————————————————————————————————— —————————————————————————————————— —————————————————————————————————— —————————————————————————————————— —————————————————————————————————— —————————————————————————————————— Chair University of California, San Diego 2009 iii DEDICATION Ba Má iv TABLE OF CONTENTS Signature Page……………………………………………………………………...iii Dedication…………………………………………………………..………............iv Table of Contents…………………………………………………………………...v