Information on the thesis "The Courtesan Through Source Materials from the 18th to the Mid-20th Century" by graduate student Hoang Thi Ngoc Thanh, majoring in Medieval Literature.1. Student's Full Name: Hoang Thi Ngoc Thanh 2. Gender: Female 3. Date of Birth: October 9, 1985 4. Place of Birth: Trang An – Chuc Son – Chuong My – Hanoi 5. Decision No. 1355/2008/QD-XHNV-KH&SDH dated October 24, 2008, by the Rector of the University of Social Sciences and Humanities, Vietnam National University, Hanoi 6. Changes during the training process: None 7. Thesis Title: The A Dao (Traditional Vietnamese Opera Singer) through Source Materials from the 18th Century to the Mid-20th Century 8. Specialization: Medieval Literature; Code: 60.22.34 9. Scientific Advisor: Assoc. Prof. Dr. Tran Nho Thin (Lecturer, Faculty of Literature – University of Social Sciences and Humanities (Vietnam National University – Hanoi)) 10. Summary of the thesis results: The thesis "The Female Singer Through Source Documents from the 18th to the Mid-20th Century" consists of three main parts: introduction, content, and conclusion. Introduction: Presents the reasons for choosing the topic. Today, Ca Tru is recognized by UNESCO as an intangible cultural heritage that needs to be preserved and is honored and respected by society; however, this does not mean that in previous centuries, Ca Tru was also honored in the same way. In the 18th century, only a few authors expressed sympathy for the unfortunate fate of female singers; most Confucian scholars often had a lack of respect for them. This dual perspective coexisted and created a long streak of influence on the perception of female singers among literati in the mid-20th century. Therefore, studying the fate of female singers through source documents from the 18th century is crucial. The period extending to the first half of the 20th century is a fascinating topic that deserves further research. The content consists of 3 chapters: Chapter 1: The Status of the Female Singer – the Master of the captivating art of Ca Tru singing + Explanation of some concepts in Ca Tru: Ca Tru, female singer, male singer, mandarin, performing arts guild. + The status of the female singer through different periods + The position of Ca Tru performance art in cultural and artistic life (in comparison with traditional Tuong theater). Chapter 2: The Female Singer Character through Sources from the 18th to the end of the 19th Century – Viewed from the Perspective of Confucian Scholars. The female singer character through sources from the 18th to the end of the 19th century – the fate of beautiful women with unfortunate destinies. In the patriarchal Eastern society of the past, beautiful women were often unhappy because of their beauty. Courtesans were women who possessed both beauty and talent, offering themselves to entertain powerful and wealthy men; however, when their beauty faded or when they were no longer useful for entertainment. Intellectually, they had to endure a very tragic fate. And of course, the beautiful women and courtesans in both Vietnam and China were not exempt from this general rule. The character of the courtesan – viewed from the Confucian perspective. The relationship between courtesans and their audience: Due to the unique nature of their profession, courtesans had the opportunity to meet and interact with many people of all social classes and ages, so there was a rather complex relationship between courtesans and literati, in many cases a romantic relationship. It is in this complex relationship between courtesans and officials that different attitudes and perspectives from the audience are revealed. The disrespectful and contemptuous view from the Confucian perspective: the audience was mainly men, and they had a male-centric view of the art of ca trù singing and the courtesans. This attitude is evident in the way they called them "singers." Even authors who were passionate about ca trù, such as Nguyen Cong Tru and Cao Ba Quat, only viewed ca trù as something they considered. It was seen as a form of entertainment, viewing the female singers as mere amusement rather than recognizing and appreciating them as valuable individuals – the masters of the female singing style. However, alongside this contemptuous attitude, some Confucian scholars expressed genuine compassion for the fate of these female singers – talented but unfortunate individuals. This respectful and empathetic perspective from the audience: Confucian scholars were not only captivated by the singers' voices, but many also placed themselves in the singers' shoes to empathize, appreciate, and express profound humanistic sentiments. The scholar who most deeply empathized with the plight of these courtesans was undoubtedly Nguyen Du. This compassionate heart is evident throughout his entire body of work, including both his Chinese and Vietnamese poems. In writing about them, Nguyen Du always expressed profound sympathy and respect. This loving and empathetic heart shows that Nguyen Du possessed a higher level of humanism than other Confucian scholars. Comparing the female singers to the courtesans in China and... Geysha in Japan: Compared to courtesan characters in other countries, it is easy to see that the female singers share many similarities with Chinese courtesans and Japanese Geysha. Chapter 3: The female singer character through sources from the late 19th and early 20th centuries – viewed from the perspective of literati. By this period, the image of the female singer appeared not only frequently in poetry and prose but also in memoirs. It was still the image of talented but ill-fated individuals. Their love affairs with officials meant accepting a lonely and unhappy life until the end. Especially in their relationship with literati, the dual perspective from previous centuries still existed. On the one hand, officials came to listen to the singing to enjoy the music, to satisfy their entertainment needs and to find inspiration for their literary and artistic works. On the other hand, they still considered female singers to be of low social standing and held a contemptuous view of them. The discovery of the poem "Singing the Female Singer" in a newspaper is considered significant. The official view in 1957 shows that the somewhat prejudiced and strict attitude of not honoring female singers from previous centuries still had a profound influence until the mid-20th century. The conclusion affirms the position of ca trù and the role of female singers in democratizing the national art and culture. From the perspective of the audience, two parallel viewpoints on female singers coexist; although different, both convey the tragic fate of women who worked as singers in the old society. While they created an art form worthy of honor, their own fate was very bitter. 11. Practical application: None 12. Further research directions: None 13. Published works related to the thesis: None
INFORMATION ON MASTER'S THESIS
1. Full name : Hoang Thi Ngoc Thanh 2. Sex: Female 3. Date of birth:October 9th 1985 4. Place of birth:Trang An–Chuc Son–Chuong Mi–Ha Noi 5. Admission decision number: 1355/2008/QD-XHNV-KH&SĐH Dated October 24, 2008 of the Rector of the University of Social Sciences and Humanities, Hanoi National University in October 24, 2008. 6. Changes in academic process: None 7. Official thesis title: Appreciating the role of A Dao from audiences' attitude from 18th century to mid - 20th century 8. Major: Medieval literature 9. Code: 60. 22. 34. 10. Supervisors: Associate Professor, Doctor Tran Nho Thin, Teacher of Literature Department, University of Social Sciences and Humanities, Hanoi National University 11. Summary of the findings of the thesis: This thesis consits of three main parts: introduction, content and conclusion. The introduction highlights the reasons for choosing topic. Since UNESCO recognized Ca Tru as an intangilbe cutural heritage on October 1, 2009, Vietnamese has also respected for this art. But, this doesn't mean that Ca tru was honored in the last centuries. In the 18th century, fewer audiences sympathized with A Dao's unfortunate fate, most of confucians expressed the disrespect with them. Both these attitudes exist in paralled and formed a long trail affect in appreciating A Dao to writers in mid - 20th century. This is the most important reason for me to write this easily. The content consists of three chapters. Chapter 1: The role of A Dao – singer in Ca tru art. + Defining some concepts in Ca tru such as: Ca tru, A Dao, Instrumentalist (Kep), Audience (Quan vien), ward teaching. +The role of A Dao in different periods. +The role of Ca tru in national art (compare with Tuong – an traditional art) Chapter 2: Image of A Dao in documentation research from 18th century to late 19th century and appreciating from Confucians. A Dao appears in documentation research suffering an extremly unfortunate fate. In orient traditional society, most of beautiful girls suffer from unlucky life. The courtesan had to serve power men with her singing and her body. But her life was unhappy when she was old. This is truth for the courtersan both in Vietnam and China. A Dao and appreciating from confucians: The relationship between A Dao and audiences: Due to particular nature of the occupation, A Dao had the opportunity to meet and contact with many people of all classes, all ages so their relationship became more and more complex and sensitive. In the especial relationship, the confucians revealed the different attitudes with A Dao. Attitude of lacking respect and contempt from Confucians: Most of the audiences of Ca Tru are men. They presented a view of nature of man to enjoy Ca Tru. Attitude of disdain was expressed from calling the name of A Dao such as “con hat”. Even both writers Nguyen Cong Tru and Cao Ba Quat who like singing Ca tru, only appreciate it for entertainment and fun. Moreover, they didn't recognize the role of A Dao in society. In contrast, some Confucians expressed their sincere sympathy with A Dao's fate. Attitude of sincere sympathy from confucians: The audiences not only liked listening to singing Ca tru, many of them also put themselves in the position of A Dao to share, respect and show deeply humanity. One of them was Nguyen Du who wrote many poetries about A Dao in his writing carrer. It means that Nguyen Du has humanity more attitude than other audiences. Comparing A Dao with the courtesan in China and Geysha in Janpan. A Dao has many similar characters with the courtesans in other countries (fate and their life) Charter 3: Image of A Dao in documentation research from late 19th century to mid 20th century and appreciating from writers. Studye image of A Dao in poem, prose and travel story in early 20th century. They suffer from living alone and unfortunate. When broken with the audiences, A Dao had to accept living miserable relationship all of their life. Two different attitudes from the last centuries still effected on writers when they wrote about A Dao in mid – 20th century. Especially, appearing poem “Hat a dau” on Nhan Dan Sunday Newspaper in 1957 shows that attitude of disdain, not honor remaining from the last centuries still has a profound effect until this time. The conclusion consists of 2 main contents: Confirming the role of Ca Tru and A Dao in making of democratic folklore life. From audiences, despite existing two different ways about A Dao, both of them informed of the tragic fate of many women who earned living by singing in the old society. They contributed to make an art worthy of honor but the destiny of their own very bitter. 12. Practical applicability, if any: None 13. Further research directions, if any: None 14. Thesis-related publications: None
