vai trò của những yếu tố ngoại ngôn trong việc hiểu những ca khúc chống chiến tranh việt nam của pete seeger

VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST-GRADUATE STUDIES o0o NGUYỄN HÀ NHẬT CHI THE ROLE OF EXTRA-VERBAL FACTORS IN UNDERSTANDING THE VIETNAM WAR PROTEST SONGS BY PETE SEEGER Vai trò yếu tố ngoại ngôn việc hiểu ca khúc chống chiến tranh Việt Nam Pete Seeger M.A MINOR PROGRAMME THESIS Field: English Linguistics Code: 8220201.01 HANOI – 2018 VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF POST-GRADUATE STUDIES o0o NGUYỄN HÀ NHẬT CHI THE ROLE OF EXTRA-VERBAL FACTORS IN UNDERSTANDING THE VIETNAM WAR PROTEST SONGS BY PETE SEEGER Vai trị yếu tố ngoại ngơn việc hiểu ca khúc chống chiến tranh Việt Nam Pete Seeger M.A MINOR PROGRAMME THESIS Field: English Linguistics Code: 8220201.01 Supervisor: Dr Ngô Tự Lập HÀ NỘI – 2018 DECLARATION I hereby declare that this thesis and the work presented in it are my own and have been generated by me as the result of my own original research I confirm that: This work was done wholly while I am in candidature for a Master degree at this University; This thesis has never been submitted partially or wholly for a degree or any other qualification at this University or any other institution; Where I have consulted the published work of others, this is always clearly attributed; Where I have quoted from the work of others, the source is always given With the exception of such quotations, this thesis is entirely my own work; I have acknowledged all main sources of help; Where the thesis is based on work done by myself jointly with others, I have made clear exactly what was done by others and what I have contributed myself I am fully aware that should this declaration be found to be false, disciplinary action could be taken and penalties imposed in accordance with University policy and rules Hanoi, 2018 Nguyễn Hà Nhật Chi i ACKNOWLEDGEMENTS During the course of this thesis, I received tremendous help from the school, teachers, family and friends I would like to send my sincere thanks to those who support me Foremost, I would like to express my sincere gratitude to my supervisor, Dr Ngô Tự Lập for giving me huge motivation, providing me meaningful lessons, and instructing me enthusiastically His enthusiastic supervision and valuable advice helps me complete this research in the best way possible I would like to thank the teachers of Faculty of Postgraduate Studies, especially Dr Huỳnh Anh Tuấn, for their enthusiastically guidance during the process of study and research I will never forget the very useful knowledge that the teachers brought me Futhermore, there are no words to show my appreciation to linguists whose books and pieces of research Without this support, I would not have been able to enrich my knowlegde and conduct this research smoothly I, finally, would never forget the kindness of my friends, supporters and my family who has given me strength all the time to encourage me complete this thesis Thank you from the bottom of my heart for everything! ii ABSTRACT For the purpose of evaluating the influence of extra-verbal factors on literary cognition, this study was based on the theoretical framework developed by Valentin Nikolaevich Voloshinov in the 1920s, especially in his works ―Discourse in Life and Discourse in Art‖ and "Marxism and Philosophy of Language‖ For this study, we selected Pete Seeger's anti-war songs as study materials The study was conducted on English-speaking participants, including English language students and employees who use and work with English During the study, participants were asked to translate protest songs into Vietnamese twice, before and after being given information about Pete Seeger and the songs Survey questionnaires were used to examine individual cognitive abilities for the meaning of the songs The analysis of collected translations and questionnaires shows that: (1) There is a significant difference in the participant’s understanding of the songs before and after they explored the extra-verbal factors underlying their creation (2) The kinds of extraverbal factors that underlie their perception difference include historical background knowledge on the US, information about the author, and knowledge about Vietnam - relationship In addition, the research shows that extra-verbal factors contribute very much to the participants’ perception of aesthetic value of songs and help increase significantly effectiveness of teaching reading comprehension iii TABLE CONTENT DECLARATION i ACKNOWLEDGEMENTS ii ABSTRACT iii LIST OF FIGURES AND TABLES vi PART A: INTRODUCTION PART B: DEVELOPMENT CHAPTER 1: THEORETICAL BACKGROUND AND LITERATURE REVIEW 1.1 Theory of Structuralism Linguistics 1.2 Voloshinov’s Meta Linguistics 1.2.1 Discourse in Life and Discourse in Art (1926) 1.2.2 Voloshinov’s other viewpoints 1.3 Pragmatics and Socioliguistics 10 1.3.1 Pragmatics .11 1.3.2 Sociolinguistics .12 1.4 Extra-verbal factors and comprehension of texts, the case of song lyrics 14 1.5 Review of previous research 16 CHAPTER 2: METHODOLOGY AND PROCEDURES 19 2.1 The Data .19 2.1.1 The anti-war songs 19 2.1.2 Overview of the songs to be studied .21 2.2 Research methodology .24 2.3 Participants 24 CHAPTER 3: DATA ANALYSIS AND DISCUSSION 26 3.1 Translation of the song lyrics with and without knowledge of extra-verbal factors .26 3.1.1 General literaral translation errors 26 iv 3.1.2 Lyrics perception without the knowledge of extra-verbal factors 28 3.2 The role of extra-verbal factors in teaching language 35 3.3 Discussion and Findings 36 PART C: CONCLUSION .39 Conclusion 39 Limitation and suggestions for future research .40 REFERENCES 41 APPENDICES I v LIST OF FIGURES AND TABLES Table 3.1 Common mistakes in translations 27 Table 3.2 The meaning of ―Nuremberg‖ 28 Table 3.3 The meaning of proper names 30 Table 3.4 Meanings of the phrase ―Beans in my ears‖ 32 Table 3.5.The messages conveyed in the songs (with extra-verbal factors) .33 Table 3.6 Reasons of misunderstanding the songs 34 Table 3.7 Role of Extra-verbal Factors in Teaching Languages by Using Songs 35 vi PART A: INTRODUCTION Rationale Teaching reading comprehension is one of the most important missions in teaching foreign languages But one of the difficulties of teaching reading comprehension, especially teaching comprehension to children, is that boring texts can quickly discourage the learners Hence, teachers usually choose some special texts, such as those in games, cartoon, or song lyrics, to teach hoping that they can help create better learning motivation of students For that reason, the author of this research work decides to use songs, namely Pete Seeger’s Vietnam War protest songs, as materials for this purpose But there is another, probably greater, difficulty that is the fact that any text is in relation with other texts and with the contexts of its creation and perception, so readers must put it in comparison and connection to related texts and contexts to understand its meanings It is useful to remind that according to Saussure’s structuralism, the meaning of a text can be perceived based on verbal factors in the text itself But, that theory has been criticized by many researchers, who argue that meaning of a text depends not only on verbal factors in the text, but also on extra-verbal factors V N Voloshinov might be the earliest writer to develop these ideas The ideas of Voloshinov in his works ―Discourse in Life and Discourse in Poetry‖ (1926) and ―Marxism and the Philosophy of Language‖ (1929) became later the foundation of modern pragmatism Song lyrics are certainly not an exception To understand the message of a song, singers as well as listeners must not only ―read‖ the lyrics, but also be aware of the context in which it is created, its author’s background, and many other factors that affect the song writing and comprehending All the above said are true while speaking about Pete Seeger and his songs, especially his Vietnam War protest songs, that have inspired so many musicians and singers of later generations The songs written by Pete Seeger are said to be the voice of millions of people who stood up against the Vietnam War in the 1960s and 1970s However, many of his songs, like the folk songs of traditional music, despite their great artistic values, are unknown for young people The youth of today, instead, listens to cliché or commercial songs that often have no meaning and that are easily forgotten soon after listening Not many people try to research about the life and the career of Pete Seeger as well as the historical background underlying the meanings of his songs Hence, many protest songs by Seeger get into oblivion and this is a huge lost for the arts in general and music in particular Nowadays, in Vietnam, the number of people who know Seeger and his songs is even more limited When being asked about the meaning of those songs, the answers of many people are often vague Sometimes, people not understand them at all Many teachers and learners of English, who understand the meaning of all the words of song lyrics as they are described in dictionaries, cannot get their deep meanings Whilst, if we want to apply any song into teaching, learning or researching, we must understand the root of the song This study is aimed to evaluate the roles of extra-verbal factors in comprehension of song lyrics As mentioned, to understand a text, it is not enough for readers to have certain competences of the language of the text To understand as well as to translate a foreign song, readers must have good knowledge of the songs’ historical, social and political backgrounds, and even the author’s personal experience All of those criteria are defined as ―extra-verbal factors‖ which are mentioned, probably for the first time, in the 1920s, in the works of V N Voloshinov Research questions This study is carried out with the aim to demonstrate the importance of the factors not expressed verbally in the text, such as social context, historical context and relationship to other texts In order to achieve these aims, the following questions are addressed: 14 Labov, W (1972) Sociolinguistic patterns (No 4) University of Pennsylvania Press 15 Millington, N T (2011) Using songs effectively to teach English to young learners Language Education in Asia, 2(1), 134-141 16 Ngô, Hữu Hồng (2016) Vai trị văn hóa kiến thức văn hóa việc hình thành tiếp nhận diễn ngôn VNU Journal of Science: Foreign Studies, 28(1) 17 Ngô, Tự Lập (2016) Dịch dịch ca từ NXB Đại học Quốc Gia Hà Nội 18 Ngô, Tự Lập (2015) Quyền lực ca khúc An Ninh Thế Giới Online Retrieved from http://antgct.cand.com.vn/Nhan-dam/Pete-Seeger-Quyen-luc-cuaca-khuc-355444/ 19 Nguyễn, Hòa (2008) Phân tích diễn ngơn: Một số vấn đề lí luận phương pháp Nxb Đại học Quốc gia Hà Nội 20 Nystrand, M (1989) A social-interactive model of writing Written Communication, 6, 66-85 21 Phạm, Thu Quỳnh Na (2005) Translating topic-comment structures of Vietnamese into English Linguistic Journal December 2007 2(15).13- 33 Retrieved on November, 21, 2013 22 Pori, B., & Baics, G (2015) “Songs are Sneaky Things”: Pete Seeger’s Music as a Force for Political Change Senior Thesis Seminar Department of History, Barnard College 23 to Shen, C (2009) Using English songs: An enjoyable and effective approach ELT English Language Teaching, 2(1), 88-94 Retrieved from www.ccsenet.org/journal.html 24 Smagorinsky, P., & Coppock, J (1995) The reader, the text, the context: An exploration of a choreographed response to literature Journal of Reading Behavior, 27(3), 271-298 25 Trần, Thanh Ái (2013) Ngôn Ngữ Học Xã Hội: Những Quan Niệm Và Khuynh Hướng Tạp chí Khoa học Trường Đại học Cần Thơ, 25, 79-95 42 26 Trịnh, Cẩm Lan (2016) Lý thuyết cộng đồng ngôn từ việc nghiên cứu ngôn ngữ bối cảnh văn hóa xã hội VNU Journal of Science: Social Sciences and Humanities, 22(1) 27 Volosinov, V N., Matejka, L., & Titunik, I R (1973) Marxism and the Philosophy of Language New York: Seminar Press 28 Voloshinov, V N (1976) Discourse in life and discourse in art Freudianism: A critical sketch, 93-116 29 Volosinov, V N (1987) Freudianism: A Critical Sketch, trans IR Titunik and Neal H Bruss (Bloomington: Indiana UP, 1976) 30 Yule, G (1996) Oxford introductions to language study: Pragmatics UK: OUP 31 Zinn, H (2015) A people's history of the United States: 1492-present Routledge Internet sources 32 https://vi.wikipedia.org/wiki/Phong_tr%C3%A0o_H%C3%A1t_cho_%C4% 91%E1%BB%93ng_b%C3%A0o_t%C3%B4i_nghe 33 http://news.bbc.co.uk/2/hi/asia-pacific/64344.stm 34 https://www.history.com/topics/world-war-ii/nuremberg-trials 35 https://en.wikipedia.org/wiki/Nuremberg_trials 36 https://en.wikipedia.org/wiki/William_Calley 37 http://time.com/3739572/american-atrocity-remembering-my-lai/ 38 https://www.nytimes.com/2017/02/24/opinion/lyndon-johnsons- vietnam.html 39 https://en.wikipedia.org/wiki/Lyndon_B._Johnson 40 http://www.antiwarsongs.org/canzone.php?lang=en&id=34451 41 http://www.antiwarsongs.org/canzone.php?lang=en&id=34451 43 APPENDICES APPENDIX 1: Survey Questionnaire A research questionnare on the role of extra-verbal factors in Viet Nam War protest songs by Pete Seeger Please answer some of the questions below by ticking the boxes or short lines if you not have the option Any information you provide will be kept private and used for research purposes If you have any questions, please contact the author at nhatchi0991@gmail.com Interviewer’s information: Fullname: Nguyen Ha Nhat Chi Date of Birth: 10-09-1991 A graduate student of QH2015 – Master of English Language, Vietnam National University, Hanoi University of Languages and International Studies, Faculty of Post-Graduate Studies Currently living abroad Part A: General Information Top of Form Please provide some personal information below: a Age _ b Carreer: Student  Empoyee  Both  c If you are student, are you majored in English language? Yes No d If you are full – time employee, does your job relate to English? Yes No How long have you been learning English? ………………………………………………………………………………… Do you often listen to English language songs? Yes No I Part B: Please read carefully the question and data given and respond in your understanding Here are two songs "Last train to Nuremberg" and "Beans in my ears" Please read the lyrics carefully, then translate the lyrics to Vietnamese During the reading and translating process, you can use the dictionary Also please not refer to other materials Thank you for your cooperation Last Train to Nuremberg Last train to Nuremberg! Who held the rifle? Who gave the Last train to Nuremberg! orders? Last train to Nuremberg! Who planned the campaign to lay All on board! waste the land? Do I see Lieutenant Calley? Who manufactured the bullet? Who Do I see Captain Medina? paid the taxes? Do I see General Koster and all his Tell me, is that blood upon my hands? crew? Last train to Nuremberg! Do I see President Nixon? Last train to Nuremberg! Do I see both houses of Congress? Last train to Nuremberg! Do I see the voters, me and you? All on board! Last train to Nuremberg! If five hundred thousand mothers Last train to Nuremberg! went to Washington Last train to Nuremberg! And said, "Bing all of our boys home All on board! without delay!" Would the mn they came to see, say he was too busy? Would he say he had to watch a football game? II Beans In My Ears Lyrics for Beans in My Ears by Pete Seeger My mama says not to put beans in my ears Beans in my ears Beans in my ears My mama says not to put beans in my ears Beans in my ears Now, why should I want to put beans in my ears? Beans in my ears Beans in my ears Now, why should I want to put beans in my ears? Beans in my ears You can't hear your teacher with beans in your ears Beans in your ears Beans in your ears You can't hear your teacher with beans in your ears Beans in your ears Hey, maybe it's fun to Beans in my ears put beans in our ears You'll have to speak Beans in our ears up I've got beans in Beans in our ears my ears Hey, maybe it's fun to Beans in my ears put beans in our ears Hey, mama, look at Beans in our ears me I've got beans in Hey, Charlie, look at my ears me I've got beans in Beans in my ears my ears Beans in my ears Beans in my ears Hey, mama, look at Beans in my ears me I've got beans in Hey, Charlie, look at my ears me I've got beans in Beans in my ears my ears That's nice, son Just Beans in my ears don't put those beans in What's that you say? your ears I've got beans in my Beans in your ears ears Beans in your ears Beans in my ears That's nice, son Just Beans in my ears don't put those beans in What's that you say? your ears I've got beans in my Beans in your ears ears I think that all Beans in my ears grownups have beans You'll have to speak in their ears up I've got beans in Beans in their ears my ears Beans in their ears Beans in my ears III I think that all grownups have beans in their ears Beans in their ears Hey, Alby Jay, you've got beans in your ears Beans in your ears Beans in your ears Hey, Alby Jay, you've got beans in your ears Beans in your ears IV What you mean, in your oppinion, by "Nuremberg" in the song "Last train to Nurember"? ……………………………………………………………………………………… ……………………………………………………………………………………… If the word "Nuremberg" is replaced by another city such as "London" or "Beijing", you think any thing change? Why? ……………………………………………………………………………………… ……….……………………………………………………………………………… The following words: "Lieutenant Calley, Captain Medina, General Koster, President Nixon" are featured in the song "Last train to Nuremberg" Do you know who they are? Yes No In your opinion, what the nouns mean? ……………………………………………………………………………………… ……………………………………………………………………………………… ……………………………………………………………………………………… What does the following sentence mean? "If five hundred thousand mothers went to Washington." In your oppinion, why the "mothers" come to "Washington"? ……………………………………………………………………………………… ……………………………………………………………………………………… In the following sentence: "Would the man come to see, say he was too busy?‖, what does the phrase "the man" imply? ……………………………………………………………………………………… ……………………………………………………………………………………… In your opinion, who does the noun "Alby Jay" in the song "Beans in my ears" refer to? ………………………………………………………………………………… V The phrase "beans in my ears" is repeated in the song "Beans in my ears" What does it refer to in your opinion? ……………………………………………………………………………………… ……………………………………………………………………………………… Part C: Please read the following article and answer the questions below in your understanding Pete Seeger: Quyền lực ca khúc 18:02 21/06/2015 Tên viết tên phim tài liệu hãng PBS thực (2008), Pete Seeger: The Power of Song, “bậc thầy nước Mỹ” Năm 2013, năm trước tuổi 94, Pete Seeger lần thứ năm đề cử giải Grammy, giải thưởng danh ông bốn lần trao (1993, 1997, 2009, 2011) Thật sức sáng tạo phi thường suốt 75 năm Trong nghiệp sáng chói ấy, Pete Seeger dành nhiều tình cảm sáng tác cho nghiệp giải phóng đất nước nhân dân Việt Nam Pete Seeger huyền thoại văn hóa Mỹ kỷ XX, đồng thời người đấu tranh khơng mệt mỏi tiến nhân dân lao động, quyền dân sự, chống chiến tranh, hịa bình mơi trường Tháng - 2008, Pete Seeger mời trình diễn lễ nhậm chức Tổng thống Barack Obama, người nói ông: ―Pete Seeger tin tưởng sâu sắc vào sức mạnh ca khúc, quan trọng hơn, ông tin tưởng vào sức mạnh cộng đồng - đứng lên đấu tranh cho lẽ phải, chống lại sai trái, thúc đẩy đất nước trở thành nước Mỹ mà ông biết kiến tạo‖ Seeger sinh năm 1919 gia đình có truyền thống âm nhạc Cha ông, Charles Louis Seeger, nhạc sĩ nhà nghiên cứu âm nhạc tốt nghiệp Đại học Harvard, người thành lập chương trình âm nhạc học Hoa Kỳ Đại học California (1913) góp phần thành lập Hội Nghiên cứu âm nhạc Hoa Kỳ (American Musicological Society) Ông người chủ chốt đặt móng cho ngành nghiên cứu âm nhạc dân tộc Mỹ VI Mẹ ông, Constance de Clyver, tốt nghiệp Nhạc viện Paris, nghệ sĩ violon sau giảng dạy Juilliard School Năm 1912, ông Charles Seeger mời thành lập khoa Âm nhạc Đại học California, Berkeley, sau bị buộc phải từ chức quan điểm hịa bình thời kỳ Chiến tranh giới lần thứ Ngay từ bé, Pete cha mẹ đưa đến nơi họ biểu diễn âm nhạc cho nhân dân lao động miền Nam nước Mỹ Cha mẹ ông ly hôn Pete lên bảy Người mẹ kế Pete, Ruth Crawford Seeger, sinh viên cha ông, nghệ sĩ Ngày bà coi nhạc sĩ đại chủ nghĩa hàng đầu Mỹ kỷ XX Tất bốn anh chị em cha khác mẹ với Pete - Margaret (Peggy), Mike, Barbara, Penelope (Penny) - trở thành ca sĩ tiếng Năm 1943, Pete kết với Toshi-Aline Ơta, họ sống đời hạnh phúc chung thủy Toshi năm 2013 Năm 1936, tuổi 17, Pete Seeger gia nhập Đoàn thành niên cộng sản (Young Communist League), năm 1942 ông gia nhập Đảng cộng sản Mỹ (Communist Party USA) Mặc dù xin khỏi đảng năm 1949, tên ông bị ghi vào sổ đen quyền thời kỳ sóng chống Cộng theo chủ thuyết McCarthy dâng cao Mỹ Ước mơ trở thành nhà báo, Seeger nhập học Trường Harvard College đến năm 1938 bỏ dở say mê hoạt động xã hội âm nhạc Năm 1939, chuyến lưu diễn nhóm nghệ sĩ múa rối ―The Vagabond Puppeteers‖ bang New York, lấy cảm hứng từ phong trào giáo dục nông dân cách mạng Mexico, có tác động lớn định hướng nghệ thuật Pete Cùng với người nông dân, nghệ sĩ sôi thảo luận vấn đề xã hội, hịa bình, vai trị cơng đồn, sống người lao động… VII Pete Seeger taij Clearwater Festival, thangs 6/2007 Mùa thu năm 1939, Seeger nhận vào làm trợ lý cho Alan Lomax, người bạn cha ông, Viện Lưu trữ âm nhạc dân gian Hoa Kỳ (Archive of American Folk Song) thuộc Thư viện Quốc hội Lomax khuyến khích Pette theo đuổi nghiệp ca sĩ nhạc sĩ âm nhạc dân gian Từ đó, Seeger trở thành ca sĩ chuyên nghiệp, thường xuyên xuất chương trình ca nhạc hàng tuần Alan Lomax Nicholas Ray phụ trách Đài Phát Columbia Broadcasting nghệ sĩ tiếng Josh White, Burl Ives, Lead Belly, Woody Guthrie… Pete Seeger người sáng tác nhiều, tiếng Where Have All the Flowers Gone? (Đâu rồi, hoa?), If I Had a Hammer (Nếu tơi có búa), Turn! Turn! Turn! (Quay đi! Quay đi! Quay đi!) Ơng người có cơng đầu việc phổ biến ca truyền thống phong trào đòi quyền dân We Shall Overcome (Chúng ta vượt qua) Sáng tác ông hàng ngàn ca sĩ tiếng hát lại khắp giới Pete Seeger người ủng hộ có ảnh hưởng Bob Dylan Chính Seeger mời Bob Dylan đến biểu diễn Newport Folk Festival, mà ông thành viên ban tổ chức VIII Bài hát Where Have All the Flowers Gone?, hát kêu gọi đấu tranh cho hịa bình tiếng lịch sử âm nhạc giới, Pete Seeger lấy cảm hứng từ tiểu thuyết Sông Đông êm đềm nhà văn Liên Xô Mikhail Sholokhov Bài hát kể câu chuyện lặp lặp lại lần lịch sử nhân loại: Những đóa hoa đâu rồi? Lũ gái hái hết Những cô gái đâu rồi? Các cô gái lấy chồng Những chàng trai trẻ đâu rồi? Họ lính hết Những người lính đâu rồi? Họ nằm nghĩa địa Những nghĩa địa đâu rồi? Đã khuất hoa dại… Giống khúc rondo, hát lặp lặp lại câu hỏi: Biết đến người ta hiểu? Biết đến người ta hiểu? Pete người bạn lớn Việt Nam, người đấu tranh không mệt mỏi chống lại chiến tranh phi nghĩa Mỹ chống lại nhân dân ta Khi hát hát dành cho trẻ em Beans in My Ears (Đậu nút tai tôi, 1964) Len Chandler, ông thêm lời để chế giễu ―Thằng Alby bà Jay‖ bị điếc bị đậu nút tai Với người chống chiến tranh Mỹ Việt Nam, ―Alby Jay‖ cách phát âm nhại theo tên Tổng Thống Mỹ đó, ―LBJ‖ - (Lyndon B Johnson), người khơng cịn khả lắng nghe tiếng nói nhân dân IX Pete Seeger nhạc sĩ Việt Nam Hà Nội (năm 1972) Năm 1967, hát Waist Deep in the Big Muddy (Bùn ngập ngụa đến thắt lưng rồi) Pete Seeger trở thành tượng đời sống âm nhạc Mỹ Bài hát nói viên đại úy, ―gã đần to xác‖ (the big fool) - mà người ta liên tưởng đến Tổng thống Johnson - thúc lính lao vào bãi lầy khổng lồ - hình ảnh khiến người ta liên tưởng đến chiến tranh Việt Nam Đỉnh cao hoạt động ngày 15/11/1969 Trong tuần hành vĩ đại phản đối chiến tranh Mỹ Việt Nam (Vietnam Moratorium March) thủ đô Washington, DC, Pete Seeger bắt nhịp cho nửa triệu người hát hát Hãy cho hịa bình hội (Give Peace a Chance) John Lennon Giữa câu hát điệp khúc ―All we are saying is give peace a chance‖ (Chúng tơi nói điều thơi, cho hịa bình hội), người ta nghe giọng Pete Seeger: ―Are you listening, Nixon?‖ (Ơng có nghe thấy không, Nixon?) Một hát phản chiến tiếng khác Pete Seeger Last Train to Nuremberg (Chuyến tàu cuối Nuremberg) viết năm 1970 sau vụ thảm sát làm chấn động dư luận nước Mỹ giới Đây phần dịch nghĩa ca từ: Chuyến tàu cuối Nuremberg X Chuyến tàu cuối Nuremgberg Chuyến tàu cuối Nuremgberg Tất lên tàu! Trung úy Caley lên chưa? Đại úy Medina lên chưa Tướng Koster đồng bọn lên chưa? Tổng thống Nixon lên chưa? Lưỡng viện Quốc hội lên chưa? Các cử tri, bạn, lên chưa? Ai cầm súng? Ai lệnh? Ai lập kế hoạch triệt phá? Ai sản xuất đạn? Ai nộp thuế? Khai ra, vết tay tơi có phải máu không? Nếu năm trăm ngàn bà mẹ kéo đến Washington Và bảo: “Đưa nước” Liệu kẻ họ đến gặp có trả lời, ơng ta bận? Liệu ơng ta có trả lời, ơng ta cịn phải xem trận bóng? Trong bài, Nuremberg tên tòa án tiếng xét xử kẻ phạm tội chống lại loài người Chiến tranh giới thứ II; Trung úy Caley Đại úy Medina hai kẻ trực tiếp huy thảm sát Mỹ Lai mà Tướng Koster không bật đèn xanh mà cịn cố tình che giấu Pete Seeger thành viên gia đình ơng đặc biệt kính yêu Chủ tịch Hồ Chí Minh Em rể ơng, Ewan MacColl có Bài ca Hồ Chí Minh (The Ballad of Ho Chi Minh, Pete Seeger có Thầy giáo Bác Hồ (Teacher Uncle Ho) độc đáo không kém: Người dạy người/ Người chứng minh cho giới:/ Nếu đấu tranh cho đất nước mình/ Thì người có sức mạnh mười người‖ Để kết thúc, xin nói thêm Pete Seeger nhân vật người nhạc sĩ ca khúc tiếng Gảy đàn lên người bạn Mỹ nhạc sĩ Phạm Tuyên Trong nhiều báo vấn, nhạc sĩ Phạm Tuyên cho biết ông xúc động XI xem đoạn phim, Pete Seeger dẫn đầu đồn người biểu tình hát vang ca phản chiến Và ca từ giai điệu xuất nhanh: ―Washington đêm lửa tranh đấu rực cháy/ Nghe tiếng hát anh vang nơi chân lý tỏa sáng ngời/ Sông Potomac ngày đêm in bóng anh đẹp thay/ Tay gảy đàn miệng hát vang để giữ lấy đời” Năm 1972, Pete Seeger vợ gái đến thăm Việt Nam Ông nhạc sĩ Phạm Tuyên trở thành người bạn thân thiết Ngô Tự Lập XII What the phrases mentioned in the two songs refer to? - Nuremberg: - Lieutenant Calley, General Koster: - Captain Medina: - President Nixon: - Alby Jay: - Beans in my ears: Do you understand all the meanings of the phrases mentioned above correctly? Yes No List the reasons why you not understand the meaning of the song? ……………………………………………………………………………………… ……………………………………………………………………………………… In your opinion, how the knowledge of song writer and song background support you understanding meaning of the songs? ……………………………………………………………………………………… ……………………………………………………………………………………… ……………………………………………………………………………………… In terms of teaching foreign languages, as English, what are the roles of this knowledge? Please raise your own thinking ……………………………………………………………………………………… ……………………………………………………………………………………… In your oppinion, those extra-verbal factors maintain aesthetic value of the text? If yes, why? ……………………………………………………………………………………… ……………………………………………………………………………………… Sincerely thank you for taking the time to respond to this survey Your answer has been of great help to this study Wish you and your family always healthy, happy and lucky! Best regards XIII ... EXTRA-VERBAL FACTORS IN UNDERSTANDING THE VIETNAM WAR PROTEST SONGS BY PETE SEEGER Vai trò yếu tố ngoại ngôn việc hiểu ca khúc chống chiến tranh Việt Nam Pete Seeger M.A MINOR PROGRAMME THESIS Field:... Dịch dịch ca từ NXB Đại học Quốc Gia Hà Nội 18 Ngô, Tự Lập (2015) Quyền lực ca khúc An Ninh Thế Giới Online Retrieved from http://antgct.cand.com.vn/Nhan-dam /Pete- Seeger- Quyen-luc-cuaca-khuc-355444/... lyrical composition becomes the basis for popular consumption at a given time and in a given society‖ (Etzkorn.P K, 1963) 2.1.1 About Pete Seeger Pete Seeger, for young audiences in Vietnam today,