ideology of “taking people as the root” of the ly dynasty in Vietnam

Ideology is always an issue that plays an important role in the life of a society, and that ideology also greatly influences the process of ruling the country of dynasties in the history. Unlike previous dynasties, which lasted only a few decades, the Ly dynasty represents a flourishing period of feudalism lasting more than 200 years. A major event was that King Ly Thanh Tong changed the country name from Dai Co Viet to Dai Viet in 1054, ushering in a brilliant era in Vietnamese history. The ideology of “taking people as the root” of Vietnamese feudal dynasties highlights the unyielding and indomitable fighting spirit for the right to enjoy independence and freedom in the old land of Giao Chi and Cuu Chan, which later was Dai Viet and is now Vietnam. It also reflects the desire for people to live in peace and harmony. This articles focuses on studying the ideology of “taking people as the root” through the reign of kings of the Ly dynasty in Vietnam. From there, the article points out the achievements and limitations in the process of taking care of people, as well as historical lessons for the development of the country today.

Outstanding Project of Russian Vietnamese Studies

The review focuses on the seventh volume of the Complete Annals of Daiviet (Đại Việt sử k ton thư), published in 2020. This central monument of Vietnamese traditional historical thought has not been translated into European languages. Volume seven presents a translation of chapters XVIXVII, covering the period of Vietnamese history from 1533 to 1599. The book consists of several parts: a study on Vietnam China relations and political history of North Vietnam in the 16th century, the translation itself, and a detailed commentary. The Appendices section contains translations of Chinese and Vietnamese works. The translation from hanviet was done by the leading Russian expert on Vietnamese history A.L. Fedorin, Doctor of Historical Sciences, who also wrote the research part and comments. The publication of the seventh volume of the Complete Annals of Daiviet can be attributed to the outstanding achievements of the Russian scholar.

Nguyen Lords with Trading Activities and International Cultural Exchange in South Vietnam during the Sixteenth to Eighteenth Centuries

The 16th 18th centuries were widely known as a fascinating period of Vietnamese history. It was characterized by the division between North (Đng Ngoi) and South of the country (Đng Trong) and the civil war accordingly between the Trinh Lords and the Nguyen Lords. It also witnessed the most vibrant cultural exchange and integration of feudal states in Vietnamese medieval times. With their well-defined vision and effective maritime trade strategies, the Nguyen Lords have actively promoted cultural and economic exchange in the region and to the world. The seaports along the coast of South Vietnam have become a central gateway for these activities. The current research is an attempt to give a vivid picture of the dynamic trading environment in Thuan Quang the biggest province in this part of the country. A critical reassessment of the Nguyen Lords integration policies will also be presented.

Hunter-gatherer or the other ethnographer? The artist in the age of historical reproduction

This essay revisits Hal Foster's essay in Marcus and Myers’ The Traffic in Culture (1995), “The Artist as Ethnographer,” through the lens of the Danish-Vietnamese artist Danh Vo's practice of collecting historical material. While Foster problematizes Western artists’ “primitivist fantasies” in the 1990s world of “postcolonial and “multinational capitalism,” I will consider Vo’ 21st century method of acquiring objects through auction sales, negotiations with their owners, and excavating them from their sites of origin, as reversing the roles of “self” and “other.” In purchasing White House memorabilia dated to the Vietnam-American war at auctions and salvaging antique statues from Vietnamese Catholic churches as artistic practice, Danh Vo illustrates what Hal Foster considered the problem of “othering” the self instead of “selving” the other. This essay will consider how Vo could present a case of alterity that returns the gaze and projects Vietnamese history back to the Western viewer. In her review of Vietnamese-Danish artist Danh Vo's Guggenheim retrospective in February 2018, Roberta Smith hesitated to call the artist an artist Instead, she dubbed him, somewhat pejoratively, a “hunter gatherer” and called his collection of historical objects to be illustrative of the “usual fate of non-Western countries: the debilitating progression of missionaries, colonization, military occupation and economic exploitation.” The tone of her review is precisely the kind of attitude on the part of the contemporary art world that an artist such as Danh Vo, and others who have been marginalized from institutions such as the Guggenheim, have been fighting against Yet, Vo's very presence in a solo exhibition at the Guggenheim serves to disprove Smith's own “assumption of outsideness” (Foster, 1995: 304).

Songs of the Golden Age in the Democratic Republic

Following the Geneva Accords of 1954, the VOV employed an array of ensembles that performed newly composed red music and revolutionary songs (ca khúc cách mạng) from the First Indochina War. Chapter 3 examines the construction of the DRV’s broadcasting and performing arts infrastructure at a time when radio was the principal mass medium for sound-based communications and the primary source for news and cultural programming. These infrastructural developments coincided with an escalation of tensions in the Second Indochina War (1955–75), when the DRV used radio to inundate southern listeners with their propaganda. With a particular focus on the central site for cultural production (state radio) and the most prominent musical form of the era (red music), this chapter illustrates how the DRV’s Ministry of Culture used radio productions on socialist themes as technologies of governmentality. Broadcasters reified the roles of men, women, and children in the ears and minds of their listening public. Their productions also played a crucial role in defining cultural boundaries between the proletariat and the bourgeoisie as broadcasters sought to sonically territorialize the socialist state. Based on interviews with former station employees, analyses of iconic songs, and archival documents, the research suggests the ongoing veneration of singers, songs, and stories from this golden age of radio music constructs a particular narrative about Vietnamese history that commemorates the achievements of the CPV and perpetuates its control in the reform era.

Inter-genres in contemporary Vietnamese historical novels

In the development process and social movements, the literary genres do not exist independently but have interaction with each other. Novels are capable of performing genres interaction because “the novel allows to put into it many different genres, including artistic genres (short stories, lyric poems, epics, speech plays...) and non-artistic genres (literature in daily life, rhetoric, science, religion...)”[1]. Novels with traditional writing style about contemporary Vietnamese history (prominent writers such as Nguyen Xuan Khanh, Vo Thi Hao, Nguyen Mong Giac...), the interaction among literary genres is considered as the most common form. Typical forms of genre interaction in novels with historical themes are the interaction between short stories and novels, poetry and novels... Genre interaction expresses the writer’s sense of creativity and experience in the innovation requirement of literary life practice.

Quintessence in Ruling the Nation in the History of Vietnam

Quintessence in ruling the nationis the typical features, becoming the culture and traditions of the nation, converging in the spirit, ideology, and personalities of a leader. The State governance by wisdom in Vietnamese history is associated with the consistency in ideology and people-based actions; putting national interests above personal interests; gracious, tolerant attitudes; promoting the spirit of great national solidarity; taking great importance to study ethics, taking significant advantage towards gifted people and practicing democracy widely. In order to practice the state governance by wisdom, the leaders need to put the national interests and national interests as the ultimate, constantly consolidating and promoting the strength of the great national solidarity, at the same time promoting the roles of the leader as well as well performing the work of cadres.

The mission of the Khuc family from the perspective of meeting the requirements of Vietnamese history from the end of the 9th century to the end of the 10th century

From the overarching vision of the historical movement in a transitional period of national independence from the end of the 9th century to the end of the 10th century and based on the objective criterion which is the degree of meeting the then historical requirements of historical figures, the article analyzes and evaluates the mission stature of Khuc Thua Du, Khuc Thua Hao and Khuc Thua My in the struggle to regain national independence of Vietnam in the early 10th century. Specifically, the article analyzes the historical requirements for Vietnam's independence and autonomy in the early 10th century as well as the fulfillment of those requirements by Khuc Thua Du, Khuc Thua Hao and Khuc Thua My. Thereby, the article suggests some comments to evaluate the contribution of these characters to Vietnamese history. At the same time, with an overview of the historical evolution of anti-aggression activities to protect Vietnam’s national independence in the next period during the 10th century, the article does some analysis to clarify the profound impacts of the mission of the Khuc family in the encouragement to separate Vietnam from the orbit of Chinese dependency at that time. From these analyses, the article comes to a remark that the great mission to separate Vietnam from Chinese dependency was not of a single person or of a family line but of the entire nation during the 10th century. On the basis of the stepping stone of that transitional century, from the 11th century, the history of Vietnam could turn into a gorgeous page of independence and autonomy, and brilliant development in the next period.

Phạm Duy Khiêm, classical reception, and colonial subversion in early 20th century Vietnam and France

The tradition of the Vietnamese reception of classical literature has not yet been examined, and this article is the first to venture into this intersection between Classics and Vietnamese studies. In this article, I focus on Phạm Duy Khiêm (1908–74) and his use of Classics to translate and mediate his Vietnamese heritage to his French audience. Phạm lived during a particularly turbulent time in Vietnamese history: he experienced Vietnam as a French protectorate called Annam, he witnessed his compatriots defy French rule and win independence for Vietnam, and he saw the civil war that challenged that new independence. Throughout these changing political contexts, Phạm navigated the politics of polarity that separated the colonizer from the colonized as he struggled to make sense of these supposedly irreconcilable differences between the two, which contested his own intercultural identity. In this article, I argue that Phạm used his classical education and its cultural capital not only to explain Vietnamese culture to his French audience, but also to elevate it as equal, and perhaps even superior, to that of the French and their supposed classical inheritance.