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Con măt nhìn cua nhà nhiêp anh = In the eye of the photographer
Kleinen, J.
Published in:Dao quanh Hô Gm = Around Hoan Kiem Lake and beyond
Link to publication
Citation for published version (APA):Kleinen, J. (2011). Con măt nhìn cua nhà nhiêp anh = In the eye of the photographer. In Quang Phùng (Ed.),Dao quanh Hô Gươm = Around Hoan Kiem Lake and beyond (pp. 7-23). Hà Nôi: Nhà Xuât Ban Văn Hóa -Thông Tin.
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Download date: 26 Dec 2019
Ngheä syõ nhieáp aûnh : Q
uang PhuøngSinh naêm
1932, Haø N
oäiPhoùng vieân aûnh töï do töø naêm
1954D
òch giaû Con ñöôøng saám seùt( 1960 )
Caùn boä höu trí ( Boä ngoaïi giao VN
)H
oäi vieân Hoäi ngheä syõ nhieáp aûnh V
ieät Nam
Hoäi vieân H
oäi nhieáp aûnh ngheä thuaät Haø N
oäiLieân heä : (84-4)3822050420
Photographer : Quang Phung
Born in 1932, in Hanoi
Freelance photo-reporter since 1954Translator of The Path of Thunder( P.A
brahams)
Retired cadre (Ministry of Foreign A
ffrairs of Vietnam
)M
ember of the A
ssociation of Photographers of Vietnam
Mem
ber of Association of Photographers of H
anoiTelephone contact : (84-4) 38220504
D! án sách do Th" vi#n Q
u$ Prince Claus (H
à Lan) tài tr%.N
h&ng ng"'i th!c hi#n: ngh# s( nhi)p *nh Quang Phùng; G
iáos" John K
leinen, +,i h-c t.ng h%p A
msterdam
; nhà báo +ào
Mai Trang (H
à N/i)
This book project is sponsored by The Prince Claus Fund
Library (the Netherlands) and im
plemented by: photographer
Quang Phung; Professor John K
leinen, the University of
Am
sterdam and M
s. Dao M
ai Trang, journalist, Hanoi.
DA
ÏO Q
UA
NH
HO
À GÖ
ÔM
AR
OU
ND
HO
AN
KIEM
LAK
E AN
D BEY
ON
D
QU
AN
G PH
UØN
G
NH
AØ X
UA
ÁT BAÛN
VA
ÊN H
OÙA
- THO
ÂNG
TINCU
LTURE - IN
FORM
ATIO
N PU
BLISHIN
G H
OU
SEH
AØ N
OÄI - 2011
B!n quy"n !nh trong sách c#a ngh$ s% nhi&p !nh Quang Phùng
B!n quy"n bài vi&t ( ti&ng Anh và ti&ng Vi$t ) trong sách c#a ông John Kleinen.N
ghiêm c'm
m(i hình th)c sao ch*p, trích d+n, ph, bi&n và in 'n khi ch-a có v.n b!n /0ng 1 chính th)c c#a các tác gi!
Xu't b!n l2n th) nh't tháng 4 - 2011©
2011 the authorsAll rights reseved; no part of this publication m
ay be reproduced, stored in a retrieval system or transm
itted in any form or
by any means, electronic, m
echanical, photocopying, recording or otherwise, w
ithout the prior written perm
ission of theauthors.First published in April, 2011.
7
Con m
!t nhìn c"a nhà nhi#p $nh
In the eye of the photographer
e was not the one w
ho snapped the picture of American actress Jane Fonda
that aroused hatred among the haw
kish supporters of the Vietnam W
ar who called
her “Hanoi Jane” ever since. But he surely w
as part of the scene when she clim
bedonto the gunner’s seat of an anti-aircraft gun, surrounded by foreign and Vietnam
esephotographers and cam
eramen. In a split second the suggestion w
as made that the
daughter of Henry Fonda, sm
iling and wearing a helm
et of the North Vietnam
eseArm
y, was targeting Am
erican airplanes. The photographer, Nguyen Q
uang Phung,accom
panied Fonda during her two w
eek visit to Northern Vietnam
in July 1972. He
was not her official interpreter, w
hom she described as Q
uoc in her mem
oirs, but atleast he w
as assigned to show her kindergartens and schools in Vietnam
’s capital.And m
ore importantly, he took photographs of these visits.
ng không ph!i là ng-3i ch*p b)c !nh Jane Fonda, ngôi sao /i$n !nh M%,
khi&n phe di"u hâu trong cu4c chi&n 5 Vi$t Nam
c.m t)c và t6 /ó g(i bà là "Jane
Hanoi". N
h-ng ông ch7c ch7n có m8t cùng v9i nhi"u phóng viên trong và ngoài n-9c
ch)ng ki&n kho!nh kh7c Jane Fonda, /2u /4i m: s7t c#a quân /4i B7c Vi$t, trèo lên
gh& pháo th#, mi$ng t-;i c-3i rê nòng súng cao x< dõi theo m
áy bay M%. Tuy không
ph!i là ng-3i phiên d=ch chính th)c c#a Jane Fonda nh-ng ông luôn có m8t trong
hai tu2n Jane Fonda th.m m
i"n B7c Vi$t Nam
, tháng 7- 1972. Ông /ã ch*p phóng
s> !nh Jane th.m nhà tr? 5 H
à N4i.
OÂ
H
PrefaceH
oan Kiem Lake is the H
anoianpeople's pride, the w
orld of spirit,greenly historical and m
ythical. It islike
a G
od-given quiet
spaceharm
onizing marvelously the nature
and the
human
beings, helping
people to feel peacefulness and toincline to the good.
Hoan Kiem
Lake is a culturalrelic area - space needed to bepreserved.
Its w
ater has
beenpoluted for m
any years. Its sacredturtle has been exhausted. Therehave been countlessly term
ite holesw
hich have killed many old trees... 5
erythrina trees whose flow
ers were
vividly red like flames w
ere plantedby
Confucian
Nguyen
Van Sieu
more than one century ago. H
ehoped to use them
and their flowers
as the background for the Thap But(Pen Tow
er) writing on the sky,
implying prom
otion of education,raising
people’s intellectual
standards. In 2002, there were still
completely 5 of them
. Recently, they
all disappeared and have not beenreplanted yet…
On the east of the lake, there
was a splendid pagoda nam
ed BaoAn w
ith 180 compartm
ents and avast pond of lotus. In 1892, theFrench authorities broke it dow
n tobuild up their offices. Its only tracetill now
is Hoa Phong stupa beside
the lake. The pagoda bell and lotusperfum
e has inspired me, a 80-
year- old man, to take a series of
Making lotus tea w
hich is a way to
mem
orize the quiet space and lotusperfum
e around Hoan Kiem
Lake inthe past…
I m
ust say my sincere thanks
to Professor
John Kleinen,
theU
niversity of Amsterdam
and Ms.
Dao M
ai Trang, a journalist, for theirkind helps in this publication.
Hanoi, Sum
mer, 2011
Quang Phung
89
ÔQuang Phung, the photographer artist’s nam
e, was born in 1932 as N
guyenQ
uang Phung, the son of a district magistrate in the province of H
a Dong. H
is father,N
guyen Quang R
ieu, had served for a few days the French (colonial) adm
inistration,but his experiences w
ith the colonial masters encouraged him
to sympathize w
ith theinsurgent forces of H
o Chi M
inh. Quang Phung w
as twelve at the tim
e, but hiseducation and his father’s status enabled him
to offer his language skills to the Office
of the International Control C
omm
ission that dealt with the disarm
ament and
repatriation of French forces in 1954. As a young interpreter, he later joined North
Vietnam’s M
inistry of Foreign Affairs, but he never abandoned his passion forphotography.
ng là Nguy@n Q
uang Phùng, v9i bút danh Quang Phùng. Sinh n.m
1932,con trai c#a m
4t v= tri ph# thu4c tAnh Hà B
ông x-a. Ng-3i cha, N
guy@n Quang R
i$u,t6ng có m
4t th3i gian ng7n làm vi$c cho chính quy"n Pháp song le, nhCng tr!i
nghi$m /ó /ã khi&n c* có thêm
lòng c!m thông v9i các l>c l-Dng n,i dEy c#a H
0 Chí
Minh. B
i"u ki$n h(c hành và /=a v= c#a ng-3i cha /ã t<o /i"u ki$n l9n cho ng-3i con,khi /ó m
9i chA ch6ng 12 tu,i, có /-Dc các k% n.ng ngôn ngC c:ng nh- thái /4 lEpthân sau này. Q
uang Phùng s9m tr5 thành nhân viên c#a F
y ban /ình chi&n quGct&, n;i ph* trách các công vi$c liên quan /&n quá trình gi!i giáp v* khí và rút v" n-9cc#a quân /4i Pháp trong n.m
1954. Sau /ó, ông vào làm vi$c 5 B4 N
go<i giao nh-m4t thông d=ch viên tr?, song ông không bao gi3 r3i chi&c m
áy !nh c#a mình.
After the controversial visit by Jane Fonda, he photographed the firstvictim
s of the Christm
as bombings of H
anoi of nearly 40 years ago: disorderly anddesperate fam
ilies looking for survivors in the ruins of the Bach Mai hospital. The
images appeared not only in m
ajor Western new
s media, but also in Paris on the
table where Kissinger and Le D
uc Tho laboriously negotiated to end the VietnamW
ar. Phung would never again see his photographs and negatives. That
experience made him
very suspicious of anyone who later asked for copies or
negatives.H
is government job prevented him
to make a career as a photographer,
but he followed closely the developm
ent of his country after the war ended, and
in the aftermath of the unification of northern and southern Vietnam
in 1976. His
world rem
ained the beloved city of Hanoi, his parks, streets and lanes, but also
the inner world of innum
erous friends and people he met w
hile working for the
Ministry. H
e often was sent to foreign em
bassies to assist diplomats to find their
way in the capital of H
anoi. He also developed a life-long friendship w
ith thelegendary G
eneral Vo Nguyen G
iap. He w
as around with his cam
era when H
anoiw
as liberated, when the victorious Bo D
oi of Giap’s troops entered the city. A
series of photographs with G
iap and Van Cao - the m
usician and composer of the
national anthem - brought a num
ber of talented people together. Van Cao (1923
-1995) was a good friend of Vietnam
’s most fam
ous modern painter Bui Xuan
Phai (1920 -1987), writer N
guyen Tuan (1910 - 1987) and another painter TranVan C
an (1910 - 1994) who happened to be Phung’s uncle. Phung entertained
a deep friendship with them
in a period that they came out of the tw
ilight zone ofw
ar and hardships. The government even recognized m
any of these artists sincethe late 1990s w
ith many state aw
ards, often posthumously. Q
uang Phungrem
ained an outsider, but a keen observer.
Sau chuy&n th.m gây tranh cãi c#a Jane Fonda t9i H
à N4i, Q
uang Phùng/ã ch*p /-Dc nhCng t'm
hình v" các n<n nhân /2u tiên trong cu4c ném bom
Hà
N4i tháng 12 - 1972: nhi"u gia /ình li tán và ho!ng lo<n tìm
ki&m s> hH trD d-9i
/Gng /, nát c#a b$nh vi$n B<ch Mai. N
hCng hình !nh 'y không chA xu't hi$n trêncác t3 báo l9n c#a truy"n thông ph-;ng Tây m
à còn /-Dc /8t trên bàn ngh= s>H4i ngh= Paris c#a phái /oàn hai n-9c, Vi$t N
am và M
%, /àm phán /I k&t thúc
cu4c chi&n. Tuy nhiên, ông /ã không thI có l<i /-Dc nhCng t'm hình và phim
âmb!n /ó nCa. Kinh nghi$m
'y khi&n ông v" sau không d@ dàng v9i /" ngh= m-Dn
!nh ho8c phim âm
b!n c#a b't kJ ai.C
ông vi$c nhi$m s5 không t<o /i"u ki$n /I ông tr5 thành m
4t nhà nhi&p!nh nh-ng kI t6 sau khi chi&n tranh k&t thúc, hai m
i"n Nam
B7c thGng nh't, ông/ã luôn theo sát s> phát triIn c#a /'t n-9c m
ình. Th& gi9i c#a ông chính là th#/ô H
à N4i yêu d'u, nhCng công viên, ngõ phG c:ng nh- m
4t th& gi9i tinh th2nthKm
sâu bên trong c#a nhCng ng-3i b<n t6 khi ông còn làm cho b4 N
go<i giao.Ô
ng th-3ng /-Dc cL /&n các /<i s) quán n-9c ngoài 5 Hà N
4i /I giúp cácnhà ngo<i giao d@ dàng h;n trong vi$c /i l<i 5 H
à N4i. Q
uang Phùng c:ng /ã giC/-Dc m
4t mGi quan h$ lâu b"n v9i t-9ng G
iáp, m4t nhân vEt huy"n tho<i trong
l=ch sL hi$n /<i Vi$t Nam
. Ông là m
4t tay máy /ã theo chân b4 /4i c#a t-9ng
Giáp khi h( ti&n vào th# /ô m
ùa thu n.m 1954, ti&c rMng cho /&n nay, ông không
còn l-u giC /-Dc t'm hình nào v" th3i kh7c l=ch sL huy hoàng /ó. M
4t serie !nhch*p hai nhân vEt /8c bi$t: t-9ng G
iáp và nh<c sN V.n Cao - tác gi! Q
u!c ca Vi"tN
am- /ã /em
l<i mGi quan h$ /8c bi$t giCa m
4t sG nhân vEt tài n.ng v9i nhau:V.n C
ao (1923 - 1995) là b<n c#a h(a sN hi$n /<i n,i ti&ng nh't Vi$t Nam
BùiXuân Phái (1920 - 1987); nhà v.n N
guy@n Tuân (1910 - 1987) và h(a sN Tr2n V.n
H(a sN Bùi Xuân Phái, /2u
nhCng n.m 1970
Painter Bui Xuan Phai in earlythe 1970s
H(a sN Tr2n V.n C
On, /2unhCng n.m
1970
Painter Tran Van Can in early
the 1970s
© John Kleinen
© Q
uang Phùng
© Q
uang Phùng
11
He never eschew
ed problematic or am
bivalent scenes of photography. In1990, he published a superb price - w
inning portrait of the daughter of a Frenchsoldier of the Foreign Legion w
ho in the 1940s had defected to the Viet Minh and
married a Vietnam
ese wom
an. The public display of métissage
that reminded
many others of close contacts w
ith a proverbial Vietnamese “other", w
as a rareoccasion in a country w
hich after the war w
as still developing its own strong
national identity. It was an im
portant signal that Vietnam w
as also engaged incultural liberalization aside from
economic renovation. Phung’s fascination for
miscegenation probably dates back to 1960 w
hen he translated the novel ThePath of Thunder by the South African w
riter Peter Abrahams (1948) w
hich was
often compared to Alan Paton’s fam
ous Cry, M
y Beloved C
ountry, aninternational acclaim
ed literary outcry against Apartheid and racism. The book
was praised in N
han Dan at a tim
e when the cultural clim
ate in Hanoi had becom
efrostier than ever.
More than half a century has passed since Phung m
ade his first photo ofa joyful H
anoi crowd w
aiting for a triumphant arm
y and peace. It is not so much
with the topics as w
ith the gaze of the photographer that we share a point of view.
He developed a recognizable style, established in a profound need to be an
observer, and brought together in his viewfinder. It w
ould be quite correct to saythat Phung’s photos do not resem
ble Robert C
apa’s or Cartier Bresson’s, but that
the “right mom
ent” he felt is frozen in his images of the people and places he
watched and kept in his cam
era.Q
uang Phung’s greatest effort and for what he is m
ost recognized today,is his portraying of a rapidly changing city. For all his w
ork, he is first andforem
ost a keen chronicler of a Hanoi w
hich heart beats at several places with
different rhythms. Just as one m
ight say that all photography is the portrait of aperiod, a place, or an object, as w
ell as a self-portrait of the person who creates
C!n (1910 - 1994), m
"t ng#$i bác h% bên nhà v& c'a Quang Phùng. Ô
ng gi( m"t
m)i quan h* b+n h(u sâu s,c v-i h% trong giai .o+n h/u chi0n và nhi1u t0 nh2.
3a ph4n trong s) các ngh* s5 này v1 sau, gi(a nh(ng n6m
1990 tr7 .i, .1u .#&cN
hà n#-c công nh/n tài n6ng c8ng nh# s9 .óng góp ngh* thu/t c'a h% b:ngvi*c truy t;ng h% các gi<i th#7ng c=p qu)c gia nh# gi<i th#7ng H
> Chí M
inh, gi<ith#7ng N
hà n#-c v1 v6n h%c ngh* thu/t. Trong khi .ó, Quang Phùng v?n gi( v2
trí c'a m"t ng#$i ngoài nh#ng là ng#$i quan sát s,c s<o…
Quang Phùng ch#a bao gi$ né tránh ch@p nh(ng c<nh hu)ng có thA gây
tranh lu/n ho;c chBa .9ng tính ch=t n#-c .ôi. N6m
1990, Quang Phùng .#&c
trao Huy ch#Cng vàng t+i triAn lãm
<nh ngh* thu/t toàn qu)c v-i bBc <nh chândung tiêu .1 Tóc m
ây. 3ây là m
"t bBc <nh tuy*t .Dp, ch@p cô con gái c'a m"t
ng#$i lính lê d#Cng Pháp nh(ng n6m 40, th0 kE XX, sau .ào ng8 theo Vi*t M
inh,v-i m
"t ph@ n( Vi*t Nam
. Ph<i nói r:ng, th$i gian .ó, vi*c gi-i thi*u v-i .+i chúngv1 m
"t ng#$i con lai- tFng nh,c nh- nhi1u ng#$i v1 nh(ng m)i liên h* khác
trong quá khB- là m"t d2p hi0m
hoi b7i dG v=p ph<i nh(ng quan ni*m v1 b<n di*n
dân t"c chính th)ng và m+nh m
H. S9 ki*n này c8ng là m"t d=u hi*u quan tr%ng
cho th=y Vi*t Nam
.ang thúc .!y s9 .a d+ng trong các quan ni*m v1 v6n hóa
cùng v-i .Ii m-i v1 kinh t0. M
)i quan tâm v1 hôn nhân d2 ch'ng c'a ông có lH
b,t .4u tF n6m 1960, khi ông chuyAn ng( tiAu thuy0t The Path of Thunder(C
on.#$ng s=m
sét) c'a nhà v6n ng#$i Nam
Phi Peter Abrahams (1948), tFng .#&c
so sánh v-i cu)n sách gây ti0ng vang qu)c t0 v1 s9 ph<n .)i ch' ngh5aApartheid C
ry, My B
eloved Country
(Hãy khóc .i, .=t n#-c yêu d=u c'a tôi,
Alan Paton). B<n d2ch c'a ông tFng .#&c gi-i thi*u trang tr%ng trên báo Nhân
dân ngay khi m-i xu=t b<n, th$i .iAm
mà .$i s)ng v6n hóa 7 H
à N"i nói chung
chJng có gì .áng kA.
3+i t#-ng Võ N
guyên Giáp và
nh+c s5 V6n Cao, n6m
1989
General Vo N
guyen Giap and
Com
poser Van Cao, 1989
© Q
uang Phùng
Tóc mây
- Huy ch-;ng vàng, triIn lãm
Pnhngh$ thuEt toàn quGc - 1990C
loudy Hair- G
old Medal, the N
ationalExhibition of Artistic Photographs in 1990
© Q
uang Phùng
1415
Hà N
4i là n;i ông ông /ã tr!i qua h2u h&t cu4c /3i mình, sinh sGng, làm
vi$c, lEp gia /ình. Gia /ình ông là m
4t gia /ình ngh$ sN, vD và c! hai ng-3i con/"u là nh<c công c#a dàn nh<c giao h-5ng. Và c:ng nh- nhi"u ng-3i H
à N4i
khác, ông luôn xem H0 H
oàn Ki&m nh- trái tim
thiêng c#a th# /ô. C!m
xúc r4nràng /&n v9i hàng /oàn ng-3i vui /ón T&t quanh h0, hay v9i b't kJ ai /ó khi m
His9m
mai th)c dEy s9m
/ón bình minh và h-5ng b2u không khí trong lành n;i
/ây.S> ki$n l=ch sL quan tr(ng nh't c#a n;i này /-Dc t<o ra b5i m
4t truy"nthuy&t v" vi$c vua Lê Thái T, (1385 - 1433) tr! g-;m
rùa vàng. Và tên c#a h0c:ng /-Dc g(i theo s> ki$n /ó. C
âu chuy$n liên /9i /&n nhCng nghi l@ g7n li"nv9i n-9c th-3ng th'y 5 B
ông Nam
Á th3i kJ /ó; chuy$n c:ng không có gGc tíchnh- cách m
à các v= vua tr-9c nhà Lê th-3ng t<o ra. Hà N
4i, hay khi /ó có tênTh.ng Long, /ã tr!i qua m
4t th3i kJ /4c lEp lâu dài - /-Dc xem nh- m
4t kQnguyên vàng c#a kinh /ô m
9i B<i Vi$t. Sau th& kQ XV, H
à N4i d2n thay /,i và có
th3i kJ b= m't v= trí kinh /ô c#a m
ình. Tuy nhiên, quanh H0 H
oàn Ki&m v+n là n;i
/-Dc ch(n /I xây c't nhà cho gi9i qu1 t4c, quan l<i trong khi phía tây b7c c#aH0 là n;i /I m
5 r4ng khu th-;ng m<i. Theo ngôn ngC hành chính d-9i tri"u
Nguy@n (kinh /ô 5 H
u&), Hoàn Ki&m
là m4t trong 18 c*m
dân c- bao g0m c!
nhà th3 l9n và /=a phEn xung quanh. Khu v>c th-;ng m<i, n,i danh v9i tên 36
ph! ph"#ng, /ã /em l<i cho H
à N4i m
4t v= trí quan tr(ng v" th-;ng m<i, th-3ng
/-Dc ng-3i n-9c ngoài bi&t /&n v9i tên K? ChD. N
.m 1870, khi ng-3i Pháp
/&n, h0 và khu v>c quanh /ó r't bOn thAu v9i nhà d>ng trên các chân c(c và/2m
l2y, ngEp /(ng, tù túng, có lR b5i cái quy&t /=nh h$ tr(ng tr-9c /ó c#a nhàN
guy@n, d3i kinh /ô vào Hu&. H
à N4i tr5 thành th# ph# c#a m
4t khu v>c, /úng
before the Le Dynasty had pretended. H
anoi, or Thang Long as it was called in
those days, was seen as the siege of an independent ruler w
ho created a goldenage for the new
ly founded kingdom of D
ai Viet. After the 15th century, Hanoi
changed gradually and lost its function as the main capital w
hen the successorsof Le Thai To split into com
peting clans of which one founded its ow
n capital inH
ue. The Hoan Kiem
lake remained a spot w
here royalty and mandarins erected
new buildings to live, but w
here on its north - west flank a com
mercial tow
nexpanded.
In the administrative language of the tim
e, Hoan Kiem
was part of a
district (phuong), and one of the eighteen population settlements of the capital
with its R
oyal Citadel and surrounding territory. Better know
n as the “Area ofThirty - Six C
omm
ercial Streets” (36 pho phuong), this comm
ercial centrecontributed to the 18th century success of H
a Noi that foreigners called Ke C
ho(G
reat Market). By the tim
e the French arrived in the 1870s, the lake and itssurrounding w
ere a filthy place, surrounded by stilt houses and swam
ps, andreduced literally to a backw
ater. Hanoi had becom
e a regional and even aprovincial capital. French city planners destroyed the im
portant Bao An pagodaat the northern part of the lake, built by a Vietnam
ese governor in the 19thcentury, but left the N
goc Son pagoda intact - the pagoda of the Jade Mountain
- on one of the two sm
all islands in the lake. By replacing the most im
portantbuildings in the area, the lake even becam
e a visible barrier, an expression ofpow
er, between the native quarters and the new
European city.
it, so it is correct to say that each picture is part of a reportage, even a story.Phung tells
every time that story, not only w
ritten in light and shadows, but also
in words. I w
as impressed by a num
ber of pictures of heroin addicts around oneof the m
ajor lakes in the city centre while telling m
e in passing that thesephotographs have been show
n at an exhibition held in 2004, when people saw
maybe for the first tim
e the direct results of what drugs can do to hum
ans. H
anoi is in many w
ays the city where he spent his com
plete adult life andw
here he founded a family, w
hose mem
bers are all artists. Like many H
anoians,he regards the H
oan Kiem Lake as the capital city’s sacred heart. The pulse
comes from
the flocking of people who celebrate the Lunar N
ew Year festivities
(Tet) or who stroll every early evening there to enjoy the soft clim
ate there in most
seasons. The historical importance of the place is coined by the fam
ous legend ofking Le Loi (or Le Thai To) [1385 -1433] w
ho accepted a magic sw
ord from a
golden turtle in the lake to fight the occupying Chinese troops sent by the M
ing.After his m
ission was accom
plished in 1428, Le Loi returned to the lake to showhis gratitude to the goddess-protector represented by the turtle. The cerem
onyw
as interrupted by a thunderstorm from
which a bold of lightning grasped the
magic sw
ord from his sheath and dashed it into the beak of the golden turtle that
disappeared into the water. The lake’s nam
e became H
o Hoan Kiem
, “the lake ofthe returned sw
ord” but in daily usage, people speak of the Ho G
uom (H
oanK
iemis a Sino -Vietnam
ese word but G
uom(it m
eans sword) is only
Vietnamese). The story refers to aquatic rituals also know
n from other parts of
Southeast Asia, this time w
ithout creating a mythical origin as dynastic rulers
H;n nLa th& kQ /ã qua kI t6 khi Phùng ch*p nhCng b)c !nh /2u tiên ghi
l<i c!nh dân chúng vui m6ng chào /ón /oàn quân gi!i phóng th# /ô (n.m
1954).C
húng tôi có nhi"u th3i gian chia s? v9i nhau v" con m7t nhìn cu4c sGng c#a m
4tnhi&p !nh gia h;n là v" các ch# /" !nh /ã ch*p c#a ông. Ô
ng /ã phát triIn m4t
phong cách d@ nhEn th'y, v9i n"n t!ng là quan /iIm: c2n thi&t ph!i tr5 thành m
4tng-3i quan sát cùng v9i Gng kính nhi&p !nh c#a m
ình. Có lR /úng khi nói rMng
!nh c#a Quang Phùng không giGng nh- c#a R
obert Capa ho8c C
artier Bressonsong /iIm
t-;ng /0ng giCa nhi&p !nh c#a ông v9i c#a h( là “kho!nh kh7c /úngth3i /iIm
” /ã /-Dc “/óng b.ng” trong nhCng hình !nh v" con ng-3i mà ông
quan sát và l-u giC trong Gng kính.NH l>c l9n nh't c#a Q
uang Phùng v9i nhi&p !nh c#a mình là ghi l<i s>
bi&n /,i nhanh chóng c#a thành phG Hà N
4i. Bó c:ng chính là /óng góp c#a
ông- v9i t- cách m4t nhà nhi&p !nh- /-Dc gi9i ngh" nghi$p và xã h4i ghi nhEn
nhi"u nh't . Tr-9c tiên, ông là m4t ng-3i ghi chép bMng !nh s7c s!o v" H
à N4i,
n;i mà nh=p /Ep cu4c sGng không ph!i /"u /8n nh- nhau 5 m
(i chGn, m(i lúc.
C:ng có thI, ai /ó sR nói rMng nhi&p !nh chính là chân dung c#a m
4t th3i kJ, m4t
n;i chGn, m4t vEt thI /0ng th3i là chân dung t> h(a c#a ng-3i ch*p, cho nên
qu! là /úng khi nói rMng, mHi b)c !nh là m
4t ph2n c#a m4t phóng s> hay câu
chuy$n /3i nào /ó… Và Q
uang Phùng luôn kI chuy$n, không chA bMng ngônngC c#a ánh sáng và bóng tGi m
à còn bMng c! ngôn t6 nCa. Ông /ã làm
tôi kinhng<c khi cho tôi xem
m4t sG !nh ch*p dân nghi"n heroin quanh m
4t trong nhCngcái h0 l9n c#a H
à N4i và ti$n thI kI tôi nghe rMng, b4 !nh /ó /ã /-Dc triIn lãm
trong n.m 2004, có lR là triIn lãm
/2u tiên v" h$ qu! mà heroin gây ra cho ng-3i
Vi$t Nam
.
17
The importance of H
oan Kiem as a sacred place rem
ains obscure andis m
ore iconic than historically justified. In the Vietnamese conception of heritage
authenticity, the lake gains its importance from
a mythical past. It w
arrants,how
ever, its important topography from
a perceived marriage of w
ater and stone.N
owadays it is seen as a landm
ark and “a successful example of using nature in
the architecture of town com
plexes” (Logan 2000: 50; Papin 2001). For the photographer Phung, H
oan Kiem lake is a biotope w
here he spenthalf of his life. H
is search for what is left resem
bles Proust’s "À la recherche dutem
ps perdu", the lost of what never has existed, but w
hat is still there as a sense,a m
emory. H
e has seen the men of his age playing C
hinese chess in theafternoon and the thrifty, devoted old w
omen com
ing at dawn of the day to do
their shadow - boxing activities, som
etimes sw
aying their toy swords to enhance
the rhythms of their classical fitness training. In the late afternoon lovers, escaping
their cramped housing, com
e here to kiss while ignoring the shouting m
atches ofm
arried couples who handle private affairs in the public dom
ain. City authorities
are still hesitating how to deal w
ith the lake and its surroundings. The changesare clearly visible in high rise buildings across the streets around the lake w
hichm
any regard as an “eyesore”. It worries Phung as m
uch as the various “jollydecorations” do in the shape of light bulbs or com
plete light and soundinstallations to give the lake a festive atm
osphere during evenings and festivals.H
e just records the contrasts and listens to the stories of those who are not longer
welcom
e to use “their” lake as an extension of their living rooms.
h;n là c#a m4t tAnh. N
hCng nhà quy ho<ch Pháp /ã cho phá chùa Báo Ân, 5 phía/ông b7c c#a h0, vGn do m
4t viên quan xây trong th& kQ XIX, nh-ng cho /I l<itoàn b4 khu v>c /"n N
g(c S;n cùng c2u Thê Húc. BMng vi$c thay th& nhCng toà
nhà quan tr(ng nh't trong khu v>c, h0 Hoàn Ki&m
/ã tr5 thành m4t cái barie
hCu hình, ng.n giCa nhCng khu c#a ng-3i b!n /=a và m4t thành phG Âu châu
m9i.
T2m quan tr(ng c#a h0 H
oàn Ki&m nh- m
4t /=a /iIm thiêng v+n còn m
;h0 và m
ang tính biIu t-Dng h;n là s> bi$n minh c#a l=ch sL. Trong 1 ni$m
v" tínhxác th>c c#a di s!n c#a ng-3i Vi$t N
am, H
0 Hoàn Ki&m
có /-Dc t2m quan tr(ng
là nh3 vào quá kh) /2y huy"n tho<i c#a nó. Nó b!o ch)ng cho /=a th& quan
tr(ng c#a mình t6 m
4t cu4c hôn phGi nhEn th'y /-Dc giCa n-9c và /á. Ngày nay,
nó /-Dc xem nh- m
4t mGc gi9i và "m
4t ví d* thành công cho vi$c sL d*ng thiênnhiên trong ph)c hDp ki&n trúc /ô th=” (Logan 2000: 50; Papin 2001)
Quang Phùng có lR /ã dành ít nh't là nLa /3i m
ình cho h0 Hoàn Ki&m
.Vi$c ki&m
tìm l<i nhCng gì /ã qua c#a ông nghe có v? t-;ng t> v9i "/i tìm
nhCngm
ùa xuân /ã m't" c#a M
. Proust, s> m't m
át c#a nhCng th) ch-a t6ng hi$nhCu nh-ng /ã th>c s> thu4c v" k1 )c, c!m
th)c c#a ng-3i /3i. Ông t6ng bao
l2n th'y nhCng ng-
3i /àn ông cùng /4 tu,i say s-a ch;i c3 t-
9ng, nhCng
ng-3i ph* nC sGng tMn ti$n mà nhi$t thành dEy thEt s9m
/" tEp luy$n d-Sngsinh bên h0. Và khi chi"u m
u4n buông, bi&t bao /ôi tình nhân l<i ghé /ây, âuy&m
nhau m8c k$ s> /3i xung quanh, c) nh- thI n;i công c4ng này là chGn
riêng t- c#a h( vEy... Chính quy"n th# /ô cho /&n nay v+n còn nhi"u do d>
trong vi$c )ng xL v9i các v'n /" xã h4i x!y ra xung quanh n;i h0 thiêng này. M4t trong nhCng
thay /,i nhìn th'y rõ ràng là vi$c gi9i h<n t2ng cao c#acác tòa nhà /-Dc xây d>ng trên m
4t sG con phG nh't /=nh quanh h0 mà nhi"u
NSN
A Quang Phùng (bên ph!i ) và
gia /ình h(a sN Tr2n V.n COn, /2u
nhCng n.m 1970
Photographer Quang Phung (right)
and the family of painter Tran Van
Can in early the 1970s
© Q
uang Phùng
1819
Globalization and m
odernization also have taken Hanoi by surprise. It is
clearly visible in nearly every corner of the city that expands in every direction: tothe north across the R
ed River tow
ards the airport, but even in an overwhelm
ingand em
barrassing way to the southeast and southw
est. The days that Phungcould go back to the old provincial capital of H
a Dong to oversee quietly the place
and land his family still ow
ns, are over. High rise buildings dom
inate the skiesview
ed from the D
ay River that for m
any decades was the safety valve for the
waters of the R
ed River w
hen they threatened the capital. Villages where the
spirit-protectors guarded over the peasant-laborers of the rice paddies are nowbecom
ing city quarters like the ones within the perim
eter of Hanoi itself. In the
years to come, H
anoi’s perimeter w
ill encompass historical villages w
here armies
fought against invading Chinese troops and insurgents hided to prepare a new
regime that w
ould declare independence and revolution.Phung retreats on his favorite turf: the historical centre of H
anoi. He
observes the plight of the ambulant traders w
ho try to adapt to the changing trafficw
here motorbikes no longer prevail, but cars. The sounds of the “cris des rues”,
the special way these vendors offer vegetables, m
eat, fish, eggs, flowers and fresh
fruit in plastic bags to everybody who w
ants to buy, are muffled by the roaring
traffic. Only w
hen one sits at home in a quiet alley, one w
ould slowly understand
the high-pitched voices that offer banh tay (western bread), keo m
ut (sweet
confections), keo lac (ground-nut sweets), o m
ai (sugared or salted dry apricot) orhoa (flow
ers). Rhetoric questions are sung ranging from
simple sentences “w
how
ants to eat sugar cane” (Ai an mia khong?) or to buy flow
ers (ai hoa ra mua?) to
specific kitchenware about big jars, china w
are and even offerings to repair (Chum
chau bat su vo han khong?) nowadays also added w
ith the term “platic”.
ng-3i dân xem nh- là nhCng vEt "ch-9ng tai gai m
7t", song không ít v* trong/ó chA /-Dc chAnh /Gn sau khi ng-3i dân lên ti&ng ph!n /Gi... Th>c t& này khi&nQ
uang Phùng lo l7ng, giGng nh- s> lo l7ng c#a ông khi nhìn /# kiIu "trang trí"cho h0 bMng /a d<ng các lo<i bóng /i$n, bMng nhCng m
àn âm thanh ánh sáng
t-ng b6ng /em l<i cho h0 m
4t không khí h4i hè trong các d=p l@ t&t hay kQ ni$ms> ki$n. Phùng l8ng lR thu thEp các thông tin /Gi lEp /ó bMng hình !nh và l7ngnghe chuy$n kI c#a nhCng ng-3i m
à nay không còn /-Dc sL d*ng cái h0 "c#ah(" nh- m
4t phòng khách gia /ình m5 r4ng nCa.
Quá trình toàn c2u hóa và hi$n /<i hóa làm
thay /,i Hà N
4i m4t cách
/áng ng<c nhiên. S> thay /,i này hi$n hCu 5 có lR m(i góc /-3ng, n?o phG c#a
m4t th# /ô /ã /-Dc m
5 r4ng v" m(i phía; t6 trung tâm
là h0 Hoàn Ki&m
v" phíab7c, qua sông H
0ng, v" phía sân bay quGc t& N4i Bài, nh-ng l9n nh't và có lR
ph!i bàn nh't là s> thay /,i v" phía Bông N
am và Tây N
am. B
ã vNnh vi@n m't
nhCng d=p mà nhà nhi&p !nh lão thành này có thI tr5 l<i th# ph# H
à Bông /I
ng7m nhìn trong tNnh l8ng khu v>c x-a kia thu4c v" gia /ình m
ình. NhCng tòa
nhà cao t2ng /ang m(c lên án ngC b2u tr3i phía sông B
áy, n;i bao n.m qua t6ng
là van an toàn cho sông H0ng m
Hi khi l: l*t dâng cao /e d(a n4i /ô. Nhi"u ngôi
làng n;i t6ng có th2n h4 m$nh b!o trD cho ng-3i nông dân s!n xu't lúa g<o nay
/ã và /ang tr5 thành khu phG nh- bao khu phG khác 5 bên trong vành /ai Hà
N4i. T9i /ây, khu v>c vành /ai H
à N4i sR bao g0m
nhCng ngôi làng l=ch sL, n;it6ng dTp tan quân xâm
l-Dc ph-;ng B7c, c:ng là n;i l>c l-Dng kháng chi&n Onn'p, /-Dc nhân dân che ch5 /I chuOn b= cho m
4t chính thI m9i /I tuyên bG n"n
/4c lEp và ti&n hành làm cách m
<ng.Q
uang Phùng lui v" l8ng lR sGng 5 m4t xóm
phG ngay trung tâm H
à N4i;
xóm H< H
0i. Ông quan sát nHi nh(c nhMn c#a nhCng ng-3i bán hàng rong trên
In 2003 when the Southeast Asia G
ames (Seagam
es) took place inVietnam
, the Hanoi city authorities decided to crack dow
n on street comm
erceand to ban cyclo drivers and am
bulant vendors at least from the inner centre to
offer visitors a vision of cleansed modernity that they had in m
ind which is
comparable w
ith Singapore and Kuala Lumpur. Later in 2008, a com
plete banon am
bulant vending followed, this tim
e an estimated num
ber of 5,000 mobile
vendors risked to lose their jobs or at least interrupted the continuous stream of
goods and repair services from the surrounding countryside that gave H
anoi aflavor of “nostalgic im
age”. What w
as forgotten by those who protested is that
less than 20 years ago this type of trade was sem
i-illegal since it was banned in
1957 - 1958 when the C
ollectivization period (Bao Cap) started.
The vendors are not banned from the city as a w
hole, but those who cater
local markets peddling betw
een the fresh and the wet w
holesale markets near the
Long Bien Bridge and the rest of Hanoi now
adays have to watch for the alw
aysvigilant law
enforcers. Phung reported this cat-and-mouse play w
ith great care forthe victim
s whose stories he knew
by heart. He brings them
together in anunusual perspective show
ing the uneasy relationship between car and (w
o)men.
His sharp eye for opposing w
orlds in one frame exposes som
etimes-m
ilddifferences betw
een the poor and the rich, but often takes side for those who are
weak or pow
erless.The hectic m
oments of this bustling city is in sharp contrast w
ith theserenity and peacefulness of a hidden back-yard pagoda, not so far fromPhung’s hom
estead. Visitors have to wind through a long alley to reach a bright
brick-paved courtyard where suddenly an im
pressive pagoda catches the eyesof the visitor. The nam
e is Phung Thanh pagoda off K
ham Thien S
treet.
phG khi ph!i làm quen v9i vi$c chen chúc cùng /# lo<i xe c; gi9i, nh't là xe ô
tô, n;i /ô th=. NhCng ti&ng rao /-3ng phG, cách chào hàng /8c bi$t c#a ng-3i
bán hàng rong, t6 hoa t-;i, rau qu! /&n th=t, cá, tr)ng, nh- tan loãng /i giCati&ng 0n N c#a giao thông. C
hA khi ai /ó 5 nhà trong m4t ngõ v7ng v? m
9i có thInhEn hiIu /-Dc nhCng thanh âm
rao hàng cao vGng, t6 bánh tây (t)c bánh mJ),
/&n kTo v6ng, kTo l<c, ô mai hay c! hoa t-;i theo m
ùa nCa. NhCng câu hUi tu
t6 /-Dc rao lên v9i /# cung bEc thanh âm, c!m
xúc, gi(ng /i$u /=a ph-;ng, và/# thI lo<i, t6 /;n gi!n nh- "Ai .n m
ía không?", cho /&n c! m4t câu k&t hDp /#
th) :"Ai chum chEu bát s) vS hàn không?", nay còn còn thêm
c! t6 "plat-tic"(plastic - nh>a) nCa...
N.m
2003, khi SeaGam
es /-Dc t, ch)c l2n /2u tiên 5 Vi$t Nam
, chínhquy"n thành phG quy&t /=nh c'm
bán hàng rong và xe xích lô ít nh't trong khutrung tâm
thành phG, theo ch# tr-;ng xây d>ng th# /ô xanh s<ch /Tp, v.n minh
hi$n /<i, /em l<i cho du khách m
4t hình !nh Hà N
4i hi$n /<i s<ch sR nh- h(t6ng th'y 5 Singapore hay Kuala Lum
pur. CuGi n.m
2008, m4t l$nh c'm
bánhàng rong trong toàn thành phG /-Dc ban hành, theo /ó, -9c tính có ít nh't5.000 ng-3i ki&m
sGng bMng công vi$c này b= m't vi$c và /e d(a gián /o<n m
4tngu0n cung c'p hàng hóa th>c phOm
t-;i sGng t6 các vùng quanh thành phGt6ng /ã giúp /em
l<i cho Hà N
4i h-;ng v= c#a "m4t hình !nh hoài c,". C
ó /i"ukhông ít ng-3i /ã quên rMng, vi$c kinh doanh kiIu /ó t6ng b= c'm
t6 nhCng n.mb7t /2u th3i kJ tEp thI hóa 5 m
i"n b7c xã h4i ch# nghNa, n.m 1957 - 1958.
Không hoàn toàn c'm hKn /-Dc h( song ng-3i bán hàng rong hi$n gi3
ph!i h&t s)c canh ch6ng s> theo dõi c#a nhCng ng-3i th>c thi luEt pháp m4t
21
The quiet pondof the pagoda does not betray the violent past w
henAm
erican bombs hit the area on the evening of 26 D
ecember 1972 and killed
215 people, destroying shops and houses and left yawning craters m
ost of which
have disappeared now. The contrast between the pagoda and the bustling and
one of the noisiest and most congested streets of H
anoi is even greater when one
remem
bers the history of Kham Thien. Sw
eet music of C
a Tru music once
welcom
ed well - to - do custom
ers of the Co D
au Ruou’s, the green ballooned
drinking houses, to meet Vietnam
ese courtesans (a dao). Dancings listened to
names like Etoile,D
èesse, Fèerieand
Pagode. After the August revolution KhamThien street w
as quickly cleaned and sanitized, but it remained a colourful
neigbourhood.All of this is absent in the series of photographs Q
uang Phung took atthe pagoda. H
is portraits of the famous nun Thich D
am Anh and her m
onasticcom
munity expose an inspiring w
orld of tranquility where the preparation of lotus
tea and the composition of m
edicines seem to have been reconciled w
ith theflow
s of the hectic events of Vietnamese history. H
is pictures show a peculiar
tranquility that is grasped by a patient observer who does not bother about style
and vogue, but who likes to record w
hat his eye sees. The inhabitants of PhungThanh pagoda, how
ever, demonstrate at the sam
e time that “going against the
stream” is still a hallm
ark of Vietnamese Buddhism
. 1Phung captured that w
orldin a w
ay that only insiders of his age and experience can acquire.
John Kleinen
cách m+n cán. Q
uang Phùng theo bám v'n /" xã h4i này v9i m
4t s> quan tâml9n nh't có thI dành cho nhCng ng-3i vì m
i&ng c;m m
anh áo cho c! gia /ìnhm
à ph!i l8n l4i ki&m sGng n;i /ô th=. Ô
ng thu4c nMm lòng chuy$n /3i c#a nhi"u
ng-3i trong sG h(. Ông ch*p /-Dc nhCng kho!nh kh7c cho th'y rõ nét s> khó
nh(c m-u sinh c#a h( c:ng nh- c#a chính ông- m
4t ng-3i /-a tin trung th>c.C
on m7t nhìn /3i s7c s!o c#a ông /ôi khi /em
l<i nhCng khuôn hình cho th'y s>khác nhau giCa ng-3i giàu và k? nghèo /0ng th3i không gi'u /-Dc thái /4 c#aông /)ng v" phía nhCng nhân vEt y&u 9t, không có quy"n hành.
BGi lEp g2n nh- hoàn toàn v9i nhCng kho!nh kh7c sGng hGi h!, 0n ào
bên ngoài là m4t không gian tNnh l8ng, th- thái bên trong m
4t ngôi chùa On giCam4t khu dân c-, không xa là bao so v9i xóm
H< H
0i. Chùa có tên Ph*ng Thánh,
nMm sâu trong ngõ C
Gng Tr7ng, trên phG Khâm Thiên. S> /Gi lEp giCa n;i chGn
này v9i cu4c sGng phG h4i bên ngoài có lR còn /-Dc c!m nhEn m
<nh mR h;n
n&u ai /ó nh9 /&n l=ch sL c#a con phG Khâm Thiên: con phG ph!i h)ng ch=u trEn
ném bom
B52 th!m khGc tháng 12 - 1972 và tr-9c C
ách m<ng tháng Tám
, nót6ng là phG C
ô /2u, dEp dìu trai thanh gái l=ch, giai nhân và khách làng ch;i. Saungày /'t n-9c /-Dc /4c lEp, phG này /ã /-Dc d(n dTp phong quang và s9m
tr5thành m
4t khu dân c- s2m u't... T't c! nhCng thông tin l=ch sL /ó không hi$n
hCu trong serie !nh Làm chè sen c#a Q
uang Phùng, ch*p t<i không gian ngôichùa. C
hân dung v= s- n,i ti&ng Thích Bàm
Ánh - tr* trì ngôi chùa - cùng c4ng/0ng s- sãi phEt tL c#a bà thI hi$n m
4t th& gi9i /2y c!m h)ng c#a s> tNnh l8ng,
n;i vi$c chuOn b= làm chè sen và các v= thuGc cho tr? em
t6 sen d-3ng nh- /-Dc/i"u hòa l<i v9i dòng ch!y l=ch sL /2y xao /4ng c#a /'t n-9c. N
hCng b)c !nh
B<i t-9ng Võ N
guyên Giáp tr! l3i
phUng v'n truy"n hình Pháp, Bi$n
Biên Ph# - 1984G
eneral Vo Nguyen G
iap in aninterview
of a French Television,D
ien Bien Phu - 1984
© Q
uang Phùng
c!a Quang Phùng cho th"y m
#t s$ t%nh l&ng khác bi't ()*c th"m hi+u b,i m
#tng)-i quan sát kiên nh.n, ng)-i không h/ b0n kho0n v/ cái g1i là phong cáchhay s$ tán th),ng b/ ngoài m
à ch2 chú tr1ng (3n nh4ng gì mà (ôi m
5t ông t6nth"y. N
h4ng ng)-i s7ng , chùa Ph8ng Thánh (ã minh ch9ng r:ng "(i ng)*c
dòng" v.n là m#t (&c (i+m
(+ nh6n bi3t c!a Ph6t giáo Vi't Nam
. 1Quang Phùng
(ã n5m b5t ()*c hình ;nh m
#t th3 gi<i theo cách mà ch2 nh4ng ng)-i , trong
(# tu=i và s$ tr;i nghi'm nh) ông m
<i có th+ có ()*c.
John Kleinen
Tham kh;o:
William
Logan,Hanoi, biography of a city
(Hà N
#i, ti+u s> m#t thành ph7),
Seatle, WA: U
niversity of Washington Press, 2000.
Philippe Papin,Histoire de H
anoi(L?ch s> Hà N
#i), Paris: Fayard, 2001.
1Tôi m)*n @ diAn gi;i này tB lu6n án thCc s% c!a Katie D
yt, nguyên v0n "Against the Stream: Buddhism
,M
arxism and G
ender in the Narrative of a Vietnam
ese Nun" (D
i ng)*c dòng: Ph6t giáo, ch! ngh%a Mac
và gi<i trong trEn thu6t c!a m#t v? s) Vi't N
am), M
onash University, Australia, 2009.
References:
William
Logan, Hanoi, biography of a city. Seattle, W
A: University of
Washington Press, 2000.
Philippe Papin,Histoire de H
anoï. Paris: Fayard, 2001.
1 I borrow this expression from
Katie Dyt’s inspiring biography of D
am Anh, “Against the Stream
:Buddhism
, Marxism
and Gender in the N
arrative of a Vietnamese N
un”, MA thesis, M
onashU
niversity, 2009.
Nhà v!n N
guy"n Tuân, #$u nh%ng n!m
1970.W
riter Nguyen Tuan, in early the 1970s.
2223
© Q
uang Phùng
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