TYLA: Representative Artistic Symbols in Vietnamese Poetry during the 1930-1945 Period

Author's name: Pham Duc Cuong.

Thesis title:Typical artistic symbols in Vietnamese poetry during the period 1930-1945.

The field of study for this dissertation is Literature.

Major: Literary Theory. Code: 62 22 01 20.

Name of the postgraduate training unit: University of Social Sciences and Humanities - Vietnam National University, Hanoi.

1. Purpose and scope of the thesis

1.1. Purpose: To systematically and comprehensively study the typical artistic symbols in Vietnamese poetry during the 1930-1945 period, thereby gaining a clearer understanding of the aesthetic concepts and artistic thinking characteristics of an entire era of creative writing in general, and of individual poets in particular. Simultaneously, to recognize the role of artistic symbols in contributing to the unique style of the authors during a vibrant and successful period of Vietnamese poetry.

To gain a clearer understanding and objectively assess the unique and creative contributions of authors to Vietnamese poetry during the 1930-1945 period. Through this, to provide a more comprehensive and in-depth evaluation of the two poetic movements of that period: romantic poetry and revolutionary poetry.

1.2. Research Subject: Typical artistic symbols in Vietnamese romantic and revolutionary poetry during the period 1930-1945.

2. Research methods used

- Systems approach

- Statistical and classification methods

- Analytical-synthetic method

- Comparative method

- Interdisciplinary research method

- Socio-historical method

3. Main results and conclusions

3.1. Main results

3.1.1. The thesis has conducted research and presented the basic theoretical frameworks on the issue of symbolism and artistic symbolism.

3.1.2. Based on research and analysis, the dissertation presents insights into the origins of symbols in Vietnamese poetry during the 1930-1945 period. This includes a focus on analyzing the social origins and the differences in psychological origins and aesthetic concepts in the formation of symbolic systems in romantic poetry (New Poetry) and revolutionary poetry.

3.1.3. The thesis surveyed, presented, analyzed, and evaluated typical artistic symbols in New Poetry 1932-1945, and typical artistic symbols in revolutionary poetry 1930-1945 (through representative authors).

3.1.4. The research results of the dissertation have clarified the value of typical artistic symbols in Vietnamese poetry during the 1930-1945 period, affirming the ideological, aesthetic value and unique creative talent of the representative poets of this period.

3.2. Conclusion

3.2.1. Ancient symbols are like human consciousness and have accompanied the changes and ups and downs of human history. The cultural codes embedded in symbols are very strong, multi-layered, and complex. Understanding the meaning of a symbol means understanding the cultural value system of an entire nation and of the era that produced the symbol.

3.2.2. Each nation and each era has its own system of artistic symbols. Exploring and deciphering the origins and appearance of artistic symbols in poetry is truly a fascinating and aesthetically pleasing method for those who wish to delve into the ultimate value of a nation's culture, its ideology, and the poet's aesthetics.

3.2.3. In the New Poetry movement, many representative authors emerged, each with a unique and colorful personal style. To leave their mark and establish their own "barcode" in the world of poetic art, each poet constructed rich symbols and symbolic systems with high aesthetic value, powerfully impacting the reader's perception: soul, blood, moon, butterfly wings, dreams, spring, etc.

3.2.4. Revolutionary poetry is both the voice of the working masses and deeply imbued with "Party spirit." Besides introducing exemplary poets and fighters such as Ho Chi Minh, To Huu, Song Hong, Tran Huy Lieu, Dang Xuan Thieu, and Nguyen Ngoc Tinh to the literary world, it has also built representative artistic symbols such as: the road, the flag, blood, the sun, light, spring, etc.

SUMMARY OF DOCTORAL THESIS

The author's name: Phạm Đức Cường.

Thesis title: Typical artistic symbols in Vietnamese poetry in the 1930-1945 period.

Scientific branch of the thesis: Literature.

Major: Literary theory Code: 62 22 01 20.

The name of postgraduate training institution: University of Social Sciences and Humanities, VNU, Hanoi.

1. Thesis purpose and objectives

1.1 Thesis purpose: The thesis aims at studying scientifically and comprehensively the typical artistic symbols in Vietnamese poetry from 1930 to 1945. Thereby, it helps to better assess the aesthetic conceptions, artistic thinking characteristics of an entire composing era in general and poets in particular. Concurrently, the role of the artistic symbol system is obviously seen in contributing to the unique style of the authors in a vibrant period with many achievements of Vietnamese poetry.

Moreover, we are clearly aware of the exclusive and creative contributions of the authors of Vietnamese poetry during the 1930-1945 period. Hence, we have thorough evaluations of the two poetry movements in the period, romantic poetry and revolutionary poetry included.

1.2. Research objects: Typical artistic symbols in Vietnamese romantic and revolutionary poetry in the 1930-1945 period.

2. Research methods

- Systematic approach

- Statistical classification method

- Analysis and synthesis methods

- Comparative approach

- Interdisciplinary research

- Socio-historical approach

3. Major results and conclusions

3.1. The major results

3.1.1. The thesis has conducted research and presented the basic theoretical frameworks for symbolism and artistic symbols.

3.1.2. On the basis of research and analysis, the thesis has made some remarks about the origin of the symbols presented in Vietnamese poetry in the period 1930-1945, which has focused on analyzing social origins and differences in psychological roots, the aesthetic conceptions in the process of the birth of symbolic systems in romantic poetry (New poetry) and revolutionary poetry.

3.1.3. The thesis has investigated, presented, analyzed and evaluated the typical artistic symbols in New poetry from 1932 to 1945 as well as in revolutionary poetry in the 1930-1945 period (through representative authors).

3.1.4. The results of the thesis have clarified the values ​​of typical artistic symbols in Vietnamese poetry between 1930 and 1945, which helps to confirm the unique ideological, aesthetic and creative values ​​of typical poets in this period.

3.2.Revisions

3.2.1. Symbols dated back to the time humans had consciousness. They have accompanied with the alternations, ups and downs in human history. Cultural codes pinned in symbols are very bold, multi-layered and multi-meaning. Understanding the meanings of symbols is comprehending the cultural value system of an entire nation, and an era producing the symbols.

3.2.2. Each nation, each era has its own art symbols. Discovering and interpreting the origin as well as the appearance of these symbols in poetry is really an interesting and aesthetic approach for those who want to completely explore the value of a national culture, of ideology and artistic taste of the poets.

3.2.3. In the New poetry flow, there appear many typical authors with distinctive and imaginative styles. To mark and set their own “bar code” in the world of poetry, each poet built his own symbols and system which were diverse, artistic, and had strong impact into readers' perceptions: soul, blood, moon, butterfly, dream, spring, and so on.

3.2.4. Revolutionary poetry is not only a voice of the working people but also of a profound “Party”. Besides introducing such representative poets and soldiers as Ho Chi Minh, To Huu, Song Hong, Tran Huy Lieu, Dang Xuan Thieu, Nguyen Ngoc Tinh, it built a system of typical artistic symbols, for instance road, flag, blood, sun, light, spring, so on and so forth.