Đặc điểm hồi ký văn học việt nam từ 1975 đến 2010 (TT)

ĐẠI HỌC HUẾ TRƯỜNG ĐẠI HỌC KHOA HỌC NGUYỄN QUANG HƯNG ĐẶC ĐIỂM HỒI KÝ VĂN HỌC VIỆT NAM TỪ 1975 ĐẾN 2010 Chuyên ngành : Văn học Việt Nam Mã số : 62 22 01 21 TÓM TẮT LUẬN ÁN TIẾN SĨ VĂN HỌC VIỆT NAM HUẾ - 2016 Công trình hoàn thành tại: Đại học Khoa học, Đại học Huế Người hướng dẫn khoa học: TS Lê Thị Hường TS Ngu n Đình nh Phản biện 1: ………………………………………………………… Phản biện 2: ………………………………………………………… Phản biện 3: ………………………………………………………… Luận án bảo vệ Hội đồng chấm luận án cấp Đại học Huế họp : ……………………………………………………………… hồi ……… … ngà ……… tháng …… năm ……… Có thể tìm thấ luận án thư viện ………………………………… DANH MỤC CÔNG TRÌNH NGHIÊN CỨU KHOA HỌC CÔNG BỐ CỦA TÁC GIẢ “Đặc điểm hồi ký văn học iệt Năm từ 1975 đến 2010”, 2006, Tạp chí Văn hóa nghệ thuật (Bộ văn hóa Thông tin), số 4, tr 7880 91 “Chân dung nhà văn hồi ký văn học”, 2010, Tạp chí Non Nước (Thành phố Đà Nẵng) số 155, tr 66 - 68 “Chân dung tự họa hồi ký nhìn từ đặc trưng thể loại”, 2016, Tạp chí Văn học, số 2, tr 122-.129 “Tính đa dạng giọng điệu c a hồi ký văn học Việt Nam sau 1975”, 2016, Tạp chí h a học Đại học Huế, số 1, tr 91-99 “Cảm quan thực, người hồi ký văn học iệt Nam giai đoạn từ sau 1975”, 2016, Tạp chí h a học Đại học Sài Gòn (Kèm theo Giấ nhận đăng) MỞ ĐẦU Lý chọn đề tài 1.1 Văn học Việt Nam từ 1975 có cách tân, phát triển nhiều bình diện Một yếu tố quan trọng làm nên đa dạng hóa đời sống văn học giai đoạn vận động, đổi mặt thể loại Ở giai đoạn trước, từ quan niệm cộng đồng văn học, loại xem trụ cột, trung tâm, loại nằm ngoại vi/cận văn học Từ sau đổi mới, chuyển đổi tư nghệ thuật, “cái nhìn thể loại” có thay đổi Trong vận động tự thân thể loại, bình đẳng thể loại ngày đậm rõ quan niệm, tâm tiếp nhận cộng đồng văn học Theo Bakhtin: Trong đời sống văn học, thể loại đặt quan hệ đồng đẳng giá trị, song thể loại thể “một thái độ thẩm mỹ thực, cách cảm thụ, nhìn nhận, giải minh giới người” Hồi ký thể loại đặc biệt diễn trình văn học Việt Nam 1.2 Từ sau 1975, nh t sau đổi mới, tiếp nhận lý thuyết m văn học toàn c u, xu t t yếu, hồi ký mang thân thể loại nhiều yếu tố đại Những tác phẩm hồi ký văn học từ sau 1975 không cung c p lượng thông tin phong phú, đa chiều mà đáp ứng khoái cảm thẩm mỹ t m đón đợi người đọc đại ức h p d n thiên hồi ký mỹ cảm nghệ thuật, nội dung đa dạng, phong phú; từ hình thức thể m , từ t m lòng, trách nhiệm cõi người, cõi nghề nhà văn 1.3 Về mặt thể loại, hồi ký xem tiểu loại ký Tuy vậy, hồi ký v n chưa thực quan tâm với vai trò, vị trí nó; chưa nghiên cứu cách đ y đủ, toàn diện góc độ đặc trưng thể loại Từ lý trên, chọn nghiên cứu đề tài Đặc điểm hồi ký văn học Việt Nam từ 1975 đến 2010, nhằm tìm quy luật vận động, bước phát triển nội dung nghệ thuật biểu thể hồi ký, đồng thời khẳng định thành tựu đóng góp hồi ký phát triển văn học Việt Nam đại 2 Đối tượng phạm vi nghiên cứu 2.1 Đối tượng nghiên cứu Đối tượng nghiên cứu luận án đặc điểm hồi ký văn học Việt Nam từ 1975 đến 2010 Những tác phẩm hồi ký văn học xu t Việt Nam từ 1975 đến 2010 thuộc diện khảo sát luận án Tuy nhiên, luận án tập trung vào hồi ký nhà văn, nhà thơ có ảnh hưởng lớn đến đời sống văn học tác phẩm họ có giá trị văn chương, thẩm mỹ cao Từ tiêu chí nêu trên, đối tượng khảo sát luận án tập hồi ký văn học phân loại sau: Hồi ký hệ nhà thơ/nhà văn sáng tác trước 1945: Nhớ lại thời (Tố Hữu); Nửa đêm sực tỉnh (Lưu Trọng Lư); Núi Mộng gương Hồ (Mộng Tuyết); Hồi ký Anh Thơ (Anh Thơ); Cát bụi chân ai, Chiều chiều (Tô Hoài); Hồi ký Quách Tấn (Quách T n); Hồi ký Song Đôi (Huy Cận) Hồi ký hệ nhà thơ/nhà văn sáng tác sau 1945: Nhớ lại (Đào Xuân Quý); Mất (Hoàng Minh Châu); Năm tháng nhọc nhằn năm tháng nhớ thương (Ma Văn Kháng); Một thời để (Bùi Ngọc T n); Trong mưa núi (Phan Tứ);… 2.2 Phạm vi nghiên cứu Phạm vi nghiên cứu luận án từ đặc trưng thẩm mỹ thể loại, cụ thể hóa đặc điểm hồi ký văn học từ 1975 đến 2010 số phương diện: diện mạo hồi ký- khuynh hướng chính; đặc điểm nội dung; nhân vật hồi ký nghệ thuật tr n thuật C sở ý thu t phư ng ph p nghiên cứu 3.1 s thu t Luận án vận dụng khái niệm thi pháp học, tự học để phân tích cách tiếp cận khám phá thực; nhìn người; cách tổ chức điểm nhìn tr n thuật… hồi ký Ngoài ra, luận án sử dụng lý thuyết thể loại để khu biệt đặc điểm hồi ký thể loại/tiểu loại khác 3.2 Phư ng pháp nghiên cứu - Phương pháp loại hình - Phương pháp c u trúc - hệ thống - Phương pháp so sánh - đối chiếu - Phương pháp thống kê - phân loại Đóng góp uận n 4.1 Từ việc hệ thống hóa lý luận thể hồi ký, luận án đưa kiến giải có tính thực tiễn nghiên cứu để khát quát số khái niệm thuộc đặc trưng thể hồi ký văn học 4.2 Là công trình nghiên cứu hệ thống thể hồi ký để tái diện mạo vận động, phát triển phận hồi ký, cụ thể hồi ký văn học Việt Nam từ năm 1975 đến 2010; sở đó, luận án hướng tới v n đề lý thuyết văn học sử vận động thể loại, tương tác văn học, tâm lý sáng tạo tiếp nhận 4.3 Khẳng định cá tính sáng tạo độc đáo việc làm thể loại Qua đó, khẳng định vai trò, vị trí giá trị hồi ký văn học dân tộc nói chung văn học giai đoạn từ sau 1975 nói riêng Cấu trúc uận n Ngoài ph n Mở đ u, Kết luận Tài liệu tham khảo, Nội dung luận án gồm chương: Chương 1: Tổng quan tình hình nghiên cứu Chương 2: Diện mạo hồi ký văn học Việt Nam đại Chương 3: Cảm quan thực dạng chân dung nhân vật hồi ký văn học Việt Nam từ 1975 đến 2010 Chương 4: Nghệ thuật tr n thuật hồi ký văn học Việt Nam từ 1975 đến 2010 Chư ng TỔNG QUAN TÌNH HÌNH NGHIÊN CỨU 1.1 Tình hình nghiên cứu thể hồi ký từ 1975 đ n 2010 1.1.1 Những công trình, báo nghiên cứu khái quát Về lý thuyết thể loại, v n đề nhà nghiên cứu, phê bình quan tâm tính hư c u hồi ký, mối quan hệ người kể người ghi hồi ký; khác nhân vật hồi ký với nhân vật tiểu thuyết;… Các viết Nguyễn Thế Hưng Lương Ích Cẩn, Phạm Hồng Giang, ý nhân vật vai trò người kể chuyện hồi ký Vũ Đức Phúc đề cập tính hư c u hồi ký Còn Hà Minh Đức phân biệt khác ký hồi ký với tiểu thuyết – tự truyện Khái quát diện mạo hồi ký văn học Việt Nam từ 1975 đến 2010, tiêu biểu Giáo trình văn học Việt Nam đại trường Đại học phạm Hà Nội; công trình Lý luận văn học Hà Minh Đức chủ biên Nhà văn Nguyên Ngọc ý đến hồi ký văn học, nhiều cho th y nguyên nhân phát triển hồi ký sau 1975 Đỗ Hải Ninh tìm nguyên để lý giải tượng thú vị xu t ạt hồi ký văn đàn năm sau 1975 Lý Hoài Thu khẳng định vị trí hồi ký, đa dạng chủ đề, đáp ứng nhu c u nhận thức thực hồi ký thời đổi Bích Thu có nhìn tổng quan phát triển hồi ký văn học sau 1975 nói riêng 1.1.2 Công trình, báo nghiên cứu tác giả, tác phẩm ố lượng viết hồi ký Tô Hoài thật phong phú Vân Thanh đưa nhận xét có tính gợi mở nghệ thuật viết hồi ký Tô Hoài Nghiên cứu, khảo luận Cát bụi chân Chiều chiều Tô Hoài, có nhiều viết có đánh giá sâu sắc đặc sắc nội dung nghệ thuật hai hồi ký này, từ khái quát tiềm lực t m vóc hồi ký Tô Hoài nói riêng hồi ký văn học Việt Nam nói chung Nguyễn Đăng Điệp với Tô Hoài, người sinh để viết, tác giả ý phương diện nghệ thuật ch t tiểu thuyết hồi ký Tô Hoài với nhận định: “Cái nhìn không nghiêm trọng hóa mạnh Tô Hoài, khiến cho nhà văn, dù viết thể loại nữa, v n thổi vào ch t tiểu thuyết mà M Bakhtin nói đến” Các viết Đặng Thị Hạnh, Phong Lê, Đặng Tiến, Vương Trí Nhàn, Nguyễn Văn Thọ, Xuân ách Tr n Đức Tiến đánh giá cao hai tác phẩm hồi ký Tô Hoài Hồi ký Anh Thơ nhà nghiên cứu, phê bình quan tâm Trong Đẹp tranh quê, quy tụ viết hồi ký Anh Thơ tác giả: Vũ Qu n Phương, Phạm Tú Châu, Xuân Cang, Tr n Cư, Nguyễn Văn Long, Nguyễn Ngọc Hiền, Lý Thị Trung… Những viết bước đ u tạo sở nghiên cứu hồi ký Anh Thơ góc độ đặc trưng thể loại Hồi ký nữ sĩ Mộng Tuyết - Núi Mộng gương Hồ gây ý nhà phê bình, nghiên cứu Về hồi ký Năm tháng nhọc nhằn năm tháng nhớ thương Ma Văn Kháng có viết Hồ Anh Thái, Nguyễn Ngọc Thiện, Bùi Bình Thi, Đinh Hương Bốn, Thi Thi, công trình nghiên cứu Nguyễn Thị Nguyên, Lê Thị Kim Liên Các tác giả ban đ u đưa nhận định giá trị đặc sắc hồi ký Ma Văn Kháng phương diện nội dung nghệ thuật Về hồi ký Nhớ lại thời Tố Hữu, tác giả Mai Hương nhận nét riêng lối viết Tố Hữu đặt song hành hành trình cách mạng với hành trình thơ Tr n Đình đánh giá hồi ký Tố Hữu: “cuốn hồi ký củng cố thêm quan niệm chúng tôi: thơ Tố Hữu thơ trữ tình trị nhiều đặc điểm thơ ông phải đặt yêu c u công tác tư tưởng lý giải th u đáo” [111, 355] Những tác phẩm hồi ký văn học Nguyễn Vỹ, Lưu Trọng Lư, Huy Cận, Đào Xuân Quý, Nguyễn Ngọc T n, Hoàng Minh Châu, Phan Tứ,… nhà nghiên cứu, phê bình quan tâm đưa đánh giá, nhận định có giá trị 1.2 Đ nh gi tình hình nghiên cứu hướng triển khai đề tài 1.2.1 Về tình hình nghiên cứu Chưa có công trình bao quát chung diện mạo thể hồi ký ự phân tích, lý giải điều kiện, quy luật phát triển, khuynh hướng đặc điểm hồi ký giai đoạn riêng l Ngay công trình lý luận, giáo trình dành vài trang cho hồi ký Những nghiên cứu tác giả, tác phẩm hồi ký chưa có tính hệ thống toàn diện 1.2.2 Hướng triển khai đề tài Khảo sát phân loại tác phẩm hồi ký để tái dựng diện mạo vận động, phát triển phận hồi ký, cụ thể hồi ký văn học Việt Nam từ 1975 đến 2010; đồng thời đặt tác phẩm hồi ký chỉnh thể để khảo sát, đối sánh làm rõ thêm chân dung nhà văn, tượng văn học, trị, văn hóa giáo dục… đời sống xã hội Việt Nam Qua đó, hệ thống, đánh giá đặc trưng nghệ thuật thể hồi ký văn học nhằm xác lập vai trò, vị trí giá trị thể loại đời sống văn học dân tộc Tiểu k t Ở Việt Nam, hồi ký đời muộn so với thể loại văn học khác hình thành phát triển hồi ký tạo nên diện mạo cho đời sống văn học nước nhà Các nhà nghiên cứu văn học có ý đưa đánh giá vị trí tác giả, tác phẩm hồi ký; cung c p sở lý luận cho việc nghiên cứu đặc trưng thể hồi ký Tuy nhiên, công trình mang tính đơn l , rời rạc, chưa có tính hệ thống Chư ng DIỆN MẠO HỒI KÝ TRONG VĂN HỌC VIỆT NAM HIỆN ĐẠI 2.1 Về kh i niệm quan niệm thể oại 2.1.1 Giới thu t khái niệm quan niệm thể oại Hồi k Trong loại từ điển, khái niệm hồi ký hiểu thống nh t Theo Từ điển tiếng Việt (Hoàng Phê): “Hồi ký thể văn ghi lại điều nhớ sau trải qua, chứng kiến việc” Nguyễn Văn Đạm Từ điển tường giải liên tưởng tiếng Việt, đưa cách hiểu: “Hồi ký thể văn thuật lại theo thứ tự thời gian việc mà tác giả trải qua chứng kiến ph n mối quan hệ thời đại” Theo Từ điển thuật ngữ văn học: “Hồi ký thể loại thuộc loại hình ký, kể lại biến cố xảy khứ mà tác giả người tham dự chứng kiến Như vậy, cách lý giải dựa theo hình thức chiết tự từ Hán Việt: hồi quay trở lại, ký ghi chép điều chứng kiến Các thuật ngữ tư ng đồng quan niệm thể oại Về quan điểm thể loại, nhiều quan niệm cho hồi k tiểu oại k , thể tài văn học Quan niệm thống nh t h u hết công trình lý luận văn học (Lại Nguyên n 150 thuật ngữ văn học; công trình Lý luận văn học (Tr n Đình chủ biên); Lý luận văn học (Hà Minh Đức chủ biên) xác định: “Hồi ký ghi lại diễn biến câu chuyện nhân vật theo bước thời gian qua hồi tưởng” Một số nhà nghiên cứu sở so sánh loại hình, điểm tương đồng khác biệt hồi ký với tiểu loại khác ký Hồi k nhật k , có nhóm tác giả Từ điển thuật ngữ văn học; nhóm tác giả Từ điển Văn học (bộ mới); Lại Nguyên n 150 thuật ngữ văn học Hồi ký tự tru ện, Từ điển Văn học (bộ mới), Đỗ Đức Hiểu phân biệt: “Hồi ký ghi lại kiện thời kỳ lịch sử, mà tác giả nhân vật chính; tự truyện kể chuyện “tôi” tác giả Tự truyện tập hợp kỷ niệm tản mạn, mà bố trí truyện, tiểu thuyết” Hồi k dạng thức tự thuật: Tiểu thuyết tự thuật, văn xuôi lịch sử, tiểu thuyết khoa học viết thật giống, có “phiên bản” thật, tác giả người không 10 was about literary life-human life, depicting contemporary writers’ portraits in reminiscence, or notes, and discussion about literary and newspaper life (Vu Bang, Nguyen Vy, Nguyen Cong Hoan, Nguyen Hong, Vu Hoang Chuong) Most notably, there were works of memoir by generals and revolutionary war activists Typical ones are: Double prison break (Tran Dang Ninh); Unforgettable months & years is the memoir by General Vo Nguyen Giap, demonstrated by Huu Mai; Our people are heroic by Hoang Quoc Viet (recorded by Thep Moi reporter); No other way (Nguyen Thi Dinh) … 2.2.2 1975-2010 phase – The heyday of memoir After 1975, memoir substantially propagated to be an independent genre with a separate life and look, with a collection of various generations Tremendous contributions were from writers of pre-war generation, belonging to many trends As crucrial in many literary phases, memoir writing became essential as for this generation In post-1975 memoir’s general accomplishments, authors in New Poetry Movement constituted a great number Works of memoir then were the illustration of childhood, hometown and family; of historic events in bold outline, memorized by Luu Trong Lu, Nguyen Xuan Sanh, Huy Can, Quach Tan Especially, female poets revitalized memoir by feminine writing, who are Mong Tuyet, Anh Tho, etc… Among pre-war writers through literary phases, Nguyen Hong was a successful memoir writer; after 1975, Nguyen Hong impressed with the memoir volume of Thosecharacters lived with me with unique memoir style Among memoir writers, it can be assured that, To Hoai was the starter of post-1975 memoir’s heyday With Sand under some feet and Late afternoon, the writer proved his talents, the experience, the taste, and the sharpness As a revolutionary poet, To Huu’s poetic path fit in historic paths Small and big events in life, in the country are marked in the memoir of In reminiscence of an age Post-1945 grown writers were also successful in memoir: Dao Xuan Quy (Recall); Hoang Minh Chau (To lose to remain); Ma Van Khang (Hard months, hard years and memories); Bui Ngoc Tan (An age to lose);Phan Tu (In mountain rain)… Memoir of researchers and critics were also in diversity (Vu Ngoc Phan, Nguyen Hien Le, Dang Anh Dao…) 11 Writing memoir is a need of activists in extraliterary areas Political activists are a large part of literary memoirs after 1975 Most notably are General Vo Nguyen Giap, Tran Tien Cung, Le Hai Ly, Hoang Van Thai, Phung The Tai, Dang Vu Hiep, Tran Van Giau and Nguyen Thi Binh … Revolutionary memoir of this phase adds to milestones in memoir linearments Writers in areas of theatre, movie, music and newspaper focus the memoir content on career upheaval, ups and downs of personal life as well as experience to yield in success Writers are Tran Van Khe, Trung Son, Dang Nhat Minh, Nguyen Van Thuong V m t s h i k xu t hi n tr n Internet c a To Hai, Cao Xuan Huy and Pham Duy, etc… Those overview linearments depicted the movement and growth of modern memoir, most notably post-1975 literary memoir In terms of content, literary memoir endows diverse information of national historic ups and downs; professional activity, even culinary and daily habits of writers Multidimensional look at himself/herself and at other revealed transition in human viewpoint by writers of post-1975 literary memoir In terms of genre, the achievement of modern literary memoir illustrates the equality among genres, depriving of the literary or peripheral literary viewpoint, big or small genre Literary memoir elucidates the cross-genre, a typical characteristic unheld by any genre Post-1975 literary memoir “swallowed” sub-genre of narratives such as diary and travel narrative through daily notes of trips The cross-genre is getting more and more popular, especially in the first phase of the 21st century, hardening the genre naming In terms of aesthetic facet, and artistic value, there were updated transformations in post-1975 memoir Works of memoir are ones of completion with modern techniques – from the text organization, autobiographical method to multitone and multisound Sub Conclusion In each writer’s career, memoir signifies a modest but indispensable proportion Each work of memoir is a style, a unique tone with individual specification, leaving the audience with impressions The joining of many writers in various generations boosts the diversity and internal growth of memoir itself as an independent genre 12 Chapter PERCEPTIONS OF REALITY AND PORTRAIT TYPES OF MEMOIR’S CHARACTERS IN 1975-2010 VIETNAMESE LITERATURE 3.1 The perception of reality 3.1.1 Social reality in historical upheavals Vietnamese literary memoir is tangibly revived to reflect colorful picture of life, of the people and the country along the century, especially in two wars’ victory Illustrated features in social reality prior to the August Revolution As for pre-war writers who lived and wrote in prerevolutionary years, memories of hard time remained Athough they belong to romantic trend (Anh Tho, Huy Can), reality (To Hoai) or politically romantic (To Huu)… this generation’s memoirs are well shaped in the reality of an age At present viewpoint, looking over distant history, memoir writers meet at the inclination to depict hard months and years of pre-revolutionary time Among specific information, memoir pages are not only statistic, or specific incidents, also “information of human life value”, are pages of life, of literature in rich artistic and human value Diverse colors of social reality after the August Revolution and Anti-French Resistance War In memoirs of social reality, historical turning points were not in chronological order In reminiscence, events, though were patched or combined by recall, were also verified The August Revolution took place The whole country was eager and joyful facing new opportunity of liberation The joy with the new fate became the rememberance in various memoirs which was depicted invigoratingly Through the remisniscent egoi, through the stand of writers in the country’s resistant life, the picture of resistance was visible with signature fragments Multidimensional reality of new life in the North and the American War After 1954, the joy of new peace was not complete The North and the South were divided The North went to the socialism foundation and country reunification, to resist the American These were big events of the nation for artistic inspiration, being the prime subject for literary genres in this phase Memoir 13 authors also mentioned crucial issues of the nation reflected by time and emotion The reality of post-war chaos and renovation Post-war social reality incites writers’ inspiration In memoirs, “the today” did not appear simultaneously, unlike “unfinished present of novel”, the time in memoir was the past time In spite of the past timestamp, the emotional intensity and the chaotic realiy were vital Milestones of crucial events in the whole country, the interactivity between the new and the old in social life, breakthroughs in individual spiritual life; and intellectuals’ choice facing historical transition,etc…All post-war tremendous incidents in social life were demonstrated in memoirs 3.1.2 The reality of human life through twists and turns Adapting to literary renewal, as other literary genres, after 1975, memoir authors focused on personal life This inspiration strengthened the perception revelation of individual fate Common point in most of memoirs is to refer to human life in the toughest phases of history With some impressive outlines, To Hoai placed more attention at farmers’ destiny in historical upheavals Ma Van Khang highlighted intellectuals’ fate Hard months, hard years and memories was self-expressive pages which the writer wholeheartedly described intellectuals’ fate in a “chaotic” society Phan Tu laid emphasis on the destiny of highland people in years of war In many memoirs, crucial focus is placed on the thoughtfulness of “setting off” of authors As the insider to narrate his/her life, the most interested event by memoir authors from 1975 to 2010 was the the mindfulness, the “setting off” of authors, especially those who used to write ahead of 1945 This deliberation became the inspiration, being value meter of literary career of each author in historical flow It was evolved into artistic declaration of a contemporary generation of author, artistic viewpoint and authors’ attitude towards social reality Post-1975 literary memoir mentioned a great deal literary phenomena which were not smoothly directed, attached with “unaccompanied” fates In literary memoir from 1975 to 2010, authors brought up phenomena literary without smooth direction, literary “criminal cases”, leading to outdated destinies One of the 14 most influential “criminal cases” over generations was Nhan Van Giai Pham Memoir authors more or less were the insiders, therefore, the aftershock of Nhan Van - Giai Pham was still an obsession (To lose to remain, Recall, A lost age, Late afternoon, etc…) As for genre characteristic, memoir bears subjectivity The reality in literature in which the author is the insider or the witness, to recall, therefore, though events are general, they are all details of individuals Literary memoir’s is linked with a specific space, event and person The reality of recalling and rebuilding in memoir is the reality reflected over emotion, collected from writers’ experience, other than to conform a fictional writing, or simply notes of events Reality perception in literary memoir is genuine in point style, is deep with intensively cultural personality of the writer 3.2 Potrait types of character 3.2.1 Self-portrait – Literary memoir’s subject Memoirs are “places of confession where the author does not mean to hide himself/herself under the shadow of fictional character” Writing about his/her life, writers’ self-portrait is placed in multidimensional relation Most of memoir writers write about memories of childhood and family relationships According to Freud, childhood leaves the impact and mark throughout the artist’s creativity Through memoir’s pages, from intertextual view, the audience knows more about each writer’s personality The crucial point of literary memoir is the fact that authors all write about his/her professional activity Self-portrait of memoir’s subject in relation with related profession demonstrates noble qualities of the artist The reminiscent ego in memoir usually is the self-awared ego, reviewing his/her works and own person (Awake at midnight, Hard months, hard years and memories, etc…) 3.2.2 Depicted portrai – Literary memoir’s character Literary memoir’s characters are diverse with persons from all walks of life, in the tight or loose relationship with the subject writing memoir However, in most literary memoirs, the most remarkable impression is authors’ portrait in various relations 15 Venue of memoir authors is that they write about writers who are recognized by their personality and influential literary career, with a ups and downs life Huy Can depicts the portrait of the poet Xuan Dieu (Song Doi Memoir) To Hoai illustrates Nguyen Tuan boldly along with other poets/writers such as Nguyen Hong, Xuan Dieu (Sand under some feet) Anh Tho demonstrates the portrait of Nguyen Binh together with other contemporary authors (Anh Tho Memoir)… In many memoir pages, writers’ portraits are all depicted, not as a central character, in various fragments and fractures, in bright or dark shades Sub Conclusion Social reality and portrait types of character – self-portrait of memoir writer; as well as depicted portraits of influential writers, poets as viewed from memoir writers are surprisingly revitalized and genuine.Hidden corners, literary culinary habits are displayed – which is hard to be done by other genres, even the literary portrait mode which was very popupar early 21st century 16 Chapter NARRATIVE ART OF LITERARY MEMOIR IN VIETNAMESE LITERATURE FROM 1975 to 2010 4.1 First person narrative mode and narrative point of view 4.1.1 The transformation of author into narrator In memoirs, author is the creativity subject and narrator at the same time Author symbol is unified with the author as a person, as a creativity subject, demonstrating directly in artistic writings According to genre terms, first person narrative mode in the one in most memoirs, narrates in the first person perspective – a bright ego tells story of himself/herself, of those who are in the relationship, of impressive events in memories Memoir bears the conformity between the fictional ego and the author’s ego Huy Can’s memoir has the coincidence among the author-the focal character-the narrator Phan Tu’s memoir, the narrator-protagonist - I tell the story from scratch to the end As for Luu Trong Lu’s memoir, viewpoint character is displayed with the form of “I” 4.1.2 Alternating point of view In various memoirs, events in the past, self-portraits and depicted portraits rebuilt from the subjective viewpoint of writer-the memoir writer However, to set up objectivity for the past story, beside I am not God, in narrative flow, authors always alter their point of view, or delegate the narration to other character; or dim the subjectivity perspective This can be seen in memoirs of Huy Can, Phan Tu, To Hoai, The alternation of narrative point of view saves the past story from being monotonous, then social reality and character portrait is reinvigorated In Song Doi Memoir, Huy Can omits the timing point of view, bringing the story to present perspective The memoir is mostly about the friendship between Huy Can and Xuan Dieu, therefore, in reminiscent phases of the poet, the narrator alters the perspective and lets Xuan Dieu writes about himself In that mode, the first person narrative delegates the second person narrative with the form of “I” to tell the story about himself/herself Continuous roleplay and alternation of perspective lead to the fact that memoir 17 pages are not simply the reappearance of a flat and one-way past but a vital and diverse past 4.2 Diversify narrative structure 4.2.1 Linear structure On the surface, the majority of 1975-2010 literary memoir aligns events in traditionally chronological linear order However, in memoirs, narrative flow and textual structure are dominated by memory mechanism; therefore, memory flow can at times breaks timing order In other cases, textual structure is reversed, adhering to memorial logic and the narrator’s memory Also in the format of rebuilding the past into the linear time flow but memoirs of Anh Tho, Hoang Minh Chau begins with the starting point in the past, and ends with the present full of chaos in a hectic life This structure proves useful in the way that the writer can spin around the focal character, complementing in that circle phases, fates and destinies of human life 4.2.2 Fragmentary structure With this narrative structure, various fragments of events, and human life are braided in an illogical way, which makes the narrative flow seemingly lousy and rambling However, the narrator actively connects factors in the story to bring them up into a textual flow On the surface, chapters look like being cut with rambling flow, telling when remembering, being dark and faded but in the underground, the text is characterized with adhesion The fragmentation of past and present events results in the fact that the past story is consisted of various stories, lives and historic upheavals 4.2.3 Intertextual structure The cross-genre, the blur of genre’s borderline; external factors from the plot integrated into the strory, forming intertextuality or shaping of text’s meaning by another text This mode makes the narrative vital and attractive, making the writer to convey information in reminiscence Post-1975 intertextuality in memoir is diverse Extra factors of text such as the introduction, note, and announcement are narrative mode to revive memorial flow, building the verification of the told story 18 In textual structure, memoir authors quoted textual forms like diary, letter, poem or essay Some memoirs braided into memorial flow through pictures and autograph of himself/herself or of highprofile figures related in the story Letter in memoirs is also popular As for narrative art, the form of letter is an alteration way of perspective, causing the told story to be less monotonous, the narrator’s perspective and depicted character becomes multidimensional and appealing One dominant genre in memoirs is diary The integration of diary into memoir reinvigorates memoir pages, with high level of verification Poem in memoir is a special mode, applied popularly by writers in autobiographical flow, transforming memoir to be more romantic with more poetic features in pages of notes 4.3 The diversity of narrative language 4.3.1 Narrator’s language As for memoir’s features, writing memoirs is to narrate past incidents in which the author is the insider or the witness Therefore, language used in memoirs is an extremely important component However, due to the need to reveal emotion as well as the writer’s awareness to tell the story in such a way to make memoir pages appealing This helps to refer to majority from the story of minority, the story of individual but it is the one of society, the writer has to complement to the frame with demonstrative language and revealing emotions This combination creates the perspective of social reality and human life of memoir writer, and revitalizes the memoir pages As a genre of direct narrator who tells the past story, language in memoir is fully characterized with subjectivity, displaying the personality and style of the author When selfawareness develops, the writer tries to set his/her tone of own language The humor, romantic and thoughtful, the polished or the plain, the smart or the unconventional of the writer are depicted sharply in the work’s review The romance is clearly showed in the language of Luu Trong Lu, Anh Tho Linguistic shade of To Hoai is diverse, once romantic, other time sharp and cruel in each word Dao Xuan Quy, Hoang Minh Chau, To Huy, Huy Can select exact vocabularies and flexible syntax to deepen the writing style 19 Language in Phan Tu’s memoir is simple but flexible and appealing Ma Van Khang’s memoir is genuine and pristine in the writing, which is sophisticated and revitalized in depicted images 4.3.2 The language of personalized and ordinary characters With memory narrative mode, in memoirs, there is mainly language of the narrator, with only a few of character’s language Character’s portrait is demonstrated in the telling, description, and review of the narrator However, being flexible in telling, various post-1975 literary memoirs advance dialogue as the founding component of the told story Character’s line is personalized, adding to depicting the real person-character’s portrait Conducting dialogues among characters, memoir authors meet at using vital linguistic system of ordinary life to set up a familiar, factual past, a social reality as the way it is with all raw and tought facets This linguistic system is made by unique linguistic material: word layers, images, the demonstration of local color, and customs, etc…This linguistic application is to invigorate the past, create awareness and artistic effect: adopt information-rich language, vital and concrete description and analysis Many memoir authors attach character’s line with wild words, or use proverb integrated with character’s language to discuss common sense; or to reveal the intention of reality revival; sharpen a human personality; or to evaluate a past phenomenon in an impressive way 4.4 Narrative tone 4.4.1 Philosophical and contemplating tone Memoir is where the writer shows honesty with himself/herself This is the shelter where the writer shares, confides and reveals after a long lifespan with ups and downs experience; wretchedness in personal life; contemplation of the profession, miserable fates direct or indirect to memoir writer This feature dominates the textual organization of memoir, especially the tone As characterized by memoir, to tell about the past from the present viewpoint of multidimension, post-1975 memoir tone is philosophical and pondering tone 20 Even the memoir works’ title signifies philosophical artistic value of human life (Awake at midnight, Sand under some feet, Late afternoon, To lose to remain, etc…) Throughtout memoir volumes, there are philosophy and contemplation of the narrator of upheaveals and events occurred in his/her life; or related to surrounding people whereas the narrator is the witness Contemplating, pondering about oneself, about people, and about life, philosophical tone in memoir is displayed in various coloration 4.4.2 Romantic and reminiscent tone One of the component factors conforming artistic value of post-1975 memoir is the multisound and multitone Accordingly, romantic tone (braided with commentary tone of memoir) is an artistic facet which endows the attraction to told stories upon memory Romantic tone is the emotional bond between memoir writer-the narrator and artistic-realistic subject, and human being Memories of hometown, family, human destiny, literary life, and professional accidents, etc…become reinvigorated through the romantic tone and language Memoir writer – the witness of past stories, reveals the emotion while telling Due to genre feature, reminiscent sense dominates the narrative tone of memoir, and creates the romantic and reminful tone in various works Romantic tone adds to the appeal of Anh Tho Memoir Crucial tone as seen in Huy Can Memoir is the confiding tone of a writer who lives in reminiscence, looking back past days with an insider’s viewpoint Huy Can Memoir conforms with “romantic memoir” Sand under some feet is the multitone memoir with sharp features of romantic tone Memories of literary fates, outdated writers’ portraits are overwhelming with romantic tone in To Hoai memoir Romantic tone is also illustrated by descriptions of high frequency in memoirs of Bui Ngoc Tan, Phan Tu, etc… 4.4.3 Humorous and witty tone According to Pospelov, in Literary research commentary, “The inclination to discocer humor in life and to revive it in works, is not only owing to innate talent of many writers, it is also due to world viewpoint resulted in their concentration on the inconformity between expectation and real ability of people in a certain social 21 circle” Memoir writers are mature in age, in profession and upheavals in creativity in historical ups and downs Reviewing “Hard months, hard years and memories”, writers meet at a common point is to select witty and gentle smile to explicate the discrimination between oneself’s works/co-author’s works in the related age’s expectation Humorous and witty tone becomes the crucial tone in this “reminiscent” genre “True sense of humor always stems from philosophical contemplation, generalizing life’s drawbacks” The witty tone also orientates into oneself After 1975, with self-awareness need, selfpublished memoir became popular Under new artistic system, the laugh – an artistic category, is selected as a clarifying method to tell the truth about the past, in which memoir subject demonstrates selfportrait or depicted portrait Sub Conclusion Studying 1975-2010 literary memoirs, we recognize the diversity of narrative tone, word and structure Literary language is not framed only in noting and narrating task, it is the one with multisound and various harmony Memoir’s narrator does not simply narrate from a perspective; he/she always alter the narrative point of view In 1975-2010 memoirs, there were modern techniques in setting scenes and people to revive past reality 1975-2010 literary works of memoir became genuine works of art 22 CONCLUSIONS Memoir in general and literary memoir in particular is the genre which initiates and develops late in Vietnamese literary life As seen from internally literary improvement, this is the search for genre adapting to writers’ state of mind, to the confiding need, and to the popular self-questioning trend in our literature The development of memoir exhibits the fact that personal experience becomes more valuable, and that memoir is the face-to-face look into the writer’s ego As for each writer personally, with oneself’s memories of life, memoir writer does not need to find the world anywhere else, it is on oneself’s old-time face Writing memoir is a straightforward way toward the past, because, when one remembers and forgets, be real and be fake, be subjective and objective, etc the writer can not hide from himself/herself That perhaps is the reason for renovationperiod writers are appealed to memoir as an access to outer reality and also inner reality of complication and mystery of human being It can be seen that, in the self-movement made by literature, genre frames themselves reveal their drawbacks; therefore, memoir is grown to create itself specific characteristics to respond to broadening genre definition It is not a random when memoir is the holder of the most genuine and real stories of artists and authors The sarcasm, the confession and self-questiong voice inspire the human being and life substances appear vitally as “close scene”, which is not less attractive and seductive Stemming from genre broadening, literary inner allows memoir to write about the past – which is always placed in mobile state so that memoir borderline can reach new experiment and experience Through this, memoir writer when approaching history can be more liberated, conveying more impression and mood from one own experience Therefore, memoir is able to respond to the need of personal experience when taking part in assessing history, which is more appreciated than collective experience Rising from the need to respond to demand by people in a modern society, who always like to get access to the truth, to perceive the past and contemplate life; memoir itself fulfils the task of exploiting realtiy both at-width and in-depth Moreover, memoir writer does not need to set up plot sophisticatedly, with characters in 23 appealing situations It is only necessary to be straightforward and honest towards the past by oneself’s impression and mood as well as remaining perception over time, filtered contemplation from oneself’s experience 1975-2010 literary memoir accomplishment yields a diverse look, and plays a crucial role in modern Vietnamese literature One of the foundations for memoir’s value of this period is the fact that the memoir itself is inclined to “near point” of the truth, meeting the requirement of literary adoption of the public And memoir satisfies receiving directions in various perspectives: culture, literature, history and aesthetics, etc… In the reality of creativity, 1975-2010 Vietnamese literary memoir develops in commeon rule of genre feature, but it is also subjected to separate trend in each development phase In the first ten years prior to renovation (1975 - 1986), memoir writer revives the past to show gratitude, with the ego as the speaker for community spirit, which is not yet the revelation of the voice from the subjective individual After renovation (1986 - 2010), issues are demonstrated around the witness ego in works of memoir in ordinary life, the place to reveal subjective voice, hidden truth asking the raise its voice, etc Values of individual, of histohical facts, of people are found and conveyed by memoir to make the movement inherited, diverse in a separate look 1975-2010 literary memoir, in its movement, affirmed remarkable growth with abundant illustrations of content, and significant renewal of demonstration methods That success converts memoir to be not only personal voice, the voice of yesterday, but to be the conveyance of tremendous issues of general significance for all ages Acknowledged renewal in artistic demonstration and genre poetry of literary memoir from 1975 to 2010 is to utilize personalized word in ordinary color of life, creating multitone, with loose structure, genre nature is hard to be clearly defined due to the integration of other genres (diary, autobiography, autobiographical novel, etc ), which increases artistic sense in reception, and shares “reading method”, inciting directions in defining, assessing memoir in objective, scientific and localized perspective 24 With achieved values in terms of content and art, literary memoir from 1975 to 2010 signifies a crucial stand among its genre in our literature However, some authors and works exaggerate the listing of material, noting; while artistic factor, the faded ego make “the significance” of memoir pages unsatisfied to genre inner strength and the audience’s need Some memoirs, apart from success, suffer from some drawbacks due to memoir’s subjectivity Narrating oneself’s life story, the reminiscent ego while facing itself is not yet “honest”, and to be inclined to be “self-induces”, or exaggerating “redemption” These faults belong to individual, not to memoir characteristic Therefore, when receiving memoir work, it is neccesary to obtain insights of memoir to appraise and receive wholeheartedly characteristic of this genre: both “standardized” as aligned by traditional “frame”, and energetic, outgoing in its development process so that each memoir work is a stone for the whole memoir linearment in particular and national literature in general in the world literature integration