{"id":11354,"date":"2012-05-09T01:31:20","date_gmt":"2012-05-09T08:31:20","guid":{"rendered":"https:\/\/dvan.org\/?p=11354"},"modified":"2018-10-14T22:01:54","modified_gmt":"2018-10-15T05:01:54","slug":"nhi-t-lieu-authenticity-is-not-ever-reachable","status":"publish","type":"post","link":"https:\/\/dvan.org\/2012\/05\/nhi-t-lieu-authenticity-is-not-ever-reachable\/","title":{"rendered":"Anvi Ho\u00e0ng Interviews Nhi T. Lieu: Authenticity is not ever reachable | T\u1ea5t c\u1ea3 \u0111\u1ec1u l\u00e0 v\u1ea5n \u0111\u1ec1 t\u00e1i t\u1ea1o v\u0103n h\u00f3a"},"content":{"rendered":"

Anvi Ho\u00e0ng interviews Professor Nhi Lieu, author of\u00a0<\/em>The American Dream in Vietnamese.<\/p>\n

Anvi Ho\u00e0ng ph\u1ecfng v\u1ea5n Gi\u00e1o S\u01b0 Nhi Li\u00eau\u00a0v\u1ec1\u00a0v\u1ea5n \u0111\u1ec1\u00a0\u0111\u00ecnh h\u00ecnh\u00a0v\u0103n h\u00f3a\u00a0c\u1ee7a\u00a0ng\u01b0\u1eddi\u00a0Vi\u1ec7t di d\u00e2n t\u1ea1i\u00a0M\u1ef9.\u00a0Vui l\u00f2ng \u0111\u1ecdc b\u00e0i ti\u1ebfng Vi\u1ec7t b\u00ean d\u01b0\u1edbi, sau b\u00e0i ti\u1ebfng Anh.<\/em><\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

Nhi T. Lieu is assistant professor of American Studies, Asian American Studies, and Women\u2019s and Gender Studies at the University of Texas at Austin. She is author of\u00a0The American Dream in Vietnamese<\/em>\u00a0(University of Minnesota Press, 2011).\u00a0 Her other published works have appeared in\u00a0Frontiers: Journal of Women Studies<\/em>\u00a0and\u00a0Alien Encounters: Popular Culture in Asian America<\/em>. Her new book project tentatively titled,\u00a0Beautiful Citizenship: Transnational Asian\/American Embodied Practices in the Age of Neoliberal Capitalism<\/em>, explores how the strategies of consumption in private and personal choices in fashion and beauty reconstitute cultural and racial identities while transforming meanings of citizenship through embodied practices.<\/p>\n

Nhi Lieu is such a happy and cheerful academic professor. She laughed more than any professors I\u2019ve met before \u2013 great energy to be around. Her research is an important contribution to the understanding of the Vietnamese diasporic community in the U.S., for both scholars in the field and the community itself.<\/em><\/p>\n

Anvi Ho\u00e0ng: There are a lot of interesting stories in your book. In a nutshell, what is\u00a0American Dream in Vietnamese<\/em>\u00a0about?<\/strong><\/p>\n

Nhi T. Lieu<\/strong>: [Laughed]. It is about a lot of things. It is about the formation of identity of an immigrant\/diasporic group. It looks at popular culture and other forms of cultural productions as sites of study. What\u2019s new and interesting about this project is that it looks at this refugee\/minority population through a different lens \u2013 it looks at everyday life and the ways in which popular culture and things in the everyday affect the social, cultural, political aspects of a community.<\/p>\n

AH<\/strong>:\u00a0Did you have Vietnamese audience in mind while you were writing this book? Who were they?<\/strong><\/p>\n

NTL<\/strong>: My parents [laughed]. I wrote the book for an academic audience and I hope that the new generation of students at the universities would learn about the experiences of their own community, and people who are part of this community \u2013 some of them are actively participating in these cultural forms not really understanding the context of how they emerged, not really understanding what it means to feel nostalgia toward the homeland. A lot of these students have no connection to Vietnam except through forms of popular culture. They\u2019ll go to the\u00a0\u00e1o d\u00e0i<\/em>\u00a0pageant, they\u2019ll watch\u00a0Paris By Night<\/em>, and listen to the music, but not really understand the context of how, for example, the music from Khanh Ly emerged, or why the diaspora has nostalgic longings for the homeland.<\/p>\n

\"\"<\/a>
Author and critic Nhi Lieu<\/figcaption><\/figure>\n

AH<\/strong>:\u00a0What is the importance of the music variety shows to the Vietnamese community and their cultural identity formation?<\/strong><\/p>\n

NTL<\/strong>: They operate in very complicated ways but for the most part, they work by connecting to what they define as \u201cculture.\u201d Part of it is a move to preserve Vietnamese culture; part of it is an understanding of what \u201cVietnamese-ness\u201d is about. In these videos you can learn a lot about history, language, and culture. Even the comedy skits are indicative of the issues that the community faces. And they are meaningful in those ways because they reflect but also capture what the community is experiencing as it assimilates and acculturates into the United States. And these forms are not only about cultural preservation, they\u2019re also about engaging with U.S. popular culture. There are a lot of performances that connect and bring in aspects of American culture, which are then folded into the acts. In the book, I discuss how Paris by Night uses West Side Story, for example, as it is reinterpreted for the Vietnamese audience \u2013 it is like multiple re-appropriations of American culture that then gets rendered as Vietnamese.<\/p>\n

AH<\/strong>:\u00a0You mentioned in the book the overlapping diasporas between the Vietnamese and the Chinese when Little Sai Gon was built. Did you see it played out in the music variety shows?<\/strong><\/p>\n

NTL<\/strong>: Yes and no. I think they were not able to really compete with the sheer abundance of the films that were produced in Hong Kong, Taiwan, and now Korea. So what happens in the shows themselves is that there was an effort to engage with and connect to \u2013 because there is no way they can compete with these forms of culture. So they align themselves with Korean productions, for example, instead of challenging them. What they did was team up with the people producing Korean popular culture and they went to perform in Korea. Incorporating these other forms were a way to add to the Vietnamese experience \u2013 but not the Vietnamese from Vietnam experience, the Vietnamese\u00a0American<\/em>\u00a0experience \u2013 that is also a statement of modernity. In this sense, \u201cWe\u2019re modernized and we want to be modern the way Korea is modernizing.\u201d There is also a Vietnamese American-ness in these cultural productions that places a stake in diasporic Vietnamese-ness. It is not just about Vietnamese in Vietnam \u2013 it\u2019s actually against the Vietnamese in Vietnam. It is about the diaspora and its strength in forging a diasporic identity with Vietnamese communities in the other nations that are modernizing as well.<\/p>\n

[amazon_enhanced asin=”0816665702″ \/][amazon_enhanced asin=”0816665702″ \/][amazon_enhanced asin=”0816665702″ \/]<\/p>\n

AH<\/strong>:\u00a0Is there a strong Chinese influence in those videos?<\/strong><\/p>\n

NTL<\/strong>: There is a distinction and I think the war is what distinguishes the Vietnamese experience from the Chinese experience. The war in itself really takes precedence when Vietnamese Americans are articulating their identity. The Chinese see the war as having an impact on their identity but I think I might have argued that, and I am citing Chuong Hoang Chung\u2019s study where he says that immigrants who are of Chinese descent have travelled so much, that the Chinese have picked up and left, picked up and left, picked up and left wherever they\u2019ve gone. This is part of their migration \u2013 you can make that argument for Vietnamese Americans, too, now given Katrina and all other recent events where they picked up and left. They\u2019re part of this narrative of migration in recent developments. But the fact that the war is so much more meaningful for Vietnamese immigrants has a lot to do with their own identity.<\/p>\n

It is funny with the way my mom is always separating Chinese and Vietnamese through food [laughed]. She would say that, \u201cVietnamese food is based more on fish sauce and Chinese food is more soy sauce based.\u201d It is the most barebones and symbolic way of thinking about identity through this food connection. Even in something as simple as\u00a0\u00e1o d\u00e0i\u00a0<\/em>\u2013 but\u00a0\u00e1o d\u00e0i<\/em>\u00a0is totally influenced by the Chinese and the French \u2013 it is always articulated as authentically Vietnamese. It is interesting that Vietnamese have claims over these\u00a0things<\/em>. So the war and the meaning of the war then separate Vietnamese immigrants from Chinese immigrants because Chinese immigrants see the war as part of another process that induces their migration, whereas the Vietnamese have a real stake in their national identity that relates to the war.<\/p>\n

AH<\/strong>:\u00a0Could you talk about the symbolic meaning of the beauty pageants in Vietnamese communities?<\/strong><\/p>\n

NTL<\/strong>: [Laughed]. Beauty pageants are one of the ways in which the community engages with gender, with ideas about self and women\u2019s place in the community. They\u2019re also symbolic of other dynamics that occur such as the symbolic display of culture. A lot of it is symbolic for women. This is the only avenue for women to showcase their abilities to retain and navigate culture in the diaspora. This is one instant where women can be perceived as having power as cultural bearers of the lost nation, and as newly assimilated subjects in American society and throughout the diaspora. Beauty pageants are very meaningful because it allows the community to showcase what they perceive to be authentic cultural forms. It is a display of pride in the community.<\/p>\n

AH<\/strong>:\u00a0Could you talk about the Vietnamese cultural identity struggle involved in the building and naming of the area now called Little Sai Gon (over a Pan-Asian American village)?<\/strong><\/strong><\/p>\n

NTL<\/strong>: My argument is that it is part of this recognition of the Vietnamese community and their struggles to forge an identity in the United States as subjects who experienced the war. The mobilization occurred because they didn\u2019t want to disappear \u2013 they want to assert this distinctive identity as refugee subjects of a war that Americans failed to help them with. The nit-picky ways of articulating Vietnamese-ness demonstrate that there are larger issues involved here, because Vietnamese culture is something that is constructed, as is Chinese culture. These are subtle constructions but both ethnic communities are invested in their own political stakes. So it is about a political articulation of Vietnamese-ness.<\/p>\n

AH<\/strong>:\u00a0What is authentic about Vietnamese culture?<\/strong><\/p>\n

NTL<\/strong>: I don\u2019t believe there is such a thing [laughed]. It is totally constructed and that\u2019s why I am arguing that there is a concerted effort to make it authentically Vietnamese. I think it is important to contextualize it within history, especially of the war. This experience is unique because of the war and there are historical connections to be made. We can claim something as Vietnamese but the historical origin can never really be traced.<\/p>\n

AH<\/strong>:\u00a0Your study shows that Vietnamese identity in the U.S. is formed by the social political circumstances many of which are out of the control of the Vietnamese?<\/strong><\/p>\n

NTL<\/strong>: Yes. The Vietnamese have tried as much as they can to control it but a lot of it is out of their control. The fact that they are considered as a refugee group in need of assistance is not something they can do a lot about. They can control it in ways that are productive to their own interests. For example they mobilize against communism under those kinds of arguments.<\/p>\n

AH<\/strong>:\u00a0What is the future like for the Vietnamese community?<\/strong><\/p>\n

NTL<\/strong>: In the conclusion, I try to engage with the future and what it means for the community. I think one of the interesting aspects of what\u2019s going on currently is there\u2019s a lot of back and forth, the transnational exchange, that is in the realm of the\u00a0private<\/em>. [Laughed]. People are doing these things but they don\u2019t want to admit to it. Because in the end, this community is still against communism to its core. Until this nation that they once called\u00a0home<\/em>\u00a0becomes a liberal democracy, people are not going to\u00a0publically<\/em>\u00a0recognize it as something legitimate.<\/p>\n

AH<\/strong>:\u00a0What is the relation of the homeland and the diaspora in terms of efforts to look for happiness?<\/strong><\/p>\n

NTL<\/strong>: In my new project, I am examining images of bridal photography to see how they engage with ideas about assimilation and modernity. I study how it is part of this larger process in which immigrants are looking to the homeland for authenticity. The gaze is multi-directional in that the people in the homeland are looking to the West to see how they would construct their images of happiness in marriage. At the same time, immigrants in the United States are looking back to Asia to see how they can authenticate their experiences because having been here a decade or two they are no longer in touch with their authenticity. So on their wedding day they decide, \u201c I think I want to go ethnic\u201d [laughed].<\/p>\n

This is part of how I conceive culture too \u2013 culture is always a beautiful set of ideas, that it is not something authentic. Authenticity is not ever reachable, in a sense.<\/p>\n

\"\"<\/a>
Interviewer Anvi Ho\u00e0ng<\/figcaption><\/figure>\n

– interview by Anvi Ho\u00e0ng.<\/p>\n

Anvi Ho\u00e0ng<\/b> grew up in Vietnam and received her bachelor degree from the National University in H\u1ed3 Ch\u00ed Minh city. She came to the US for graduate studies and have found happiness in writing. She makes it one aim to celebrate Vietnamese culture in her writing. A bilingual writer in English and Vietnamese, Anvi enjoys exploring the in-between worlds she is in, and loves water. She lives in Bloomington, IN.<\/p>\n

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\"\"<\/a><\/p>\n

“T\u1ea5t c\u1ea3 \u0111\u1ec1u l\u00e0 v\u1ea5n \u0111\u1ec1 t\u00e1i t\u1ea1o v\u0103n h\u00f3a”<\/strong><\/p>\n

Nghi\u00ean c\u1ee9u th\u1ea5u \u0111\u00e1o v\u1ec1 sinh ho\u1ea1t c\u1ee7a c\u1ed9ng \u0111\u1ed3ng ng\u01b0\u1eddi Vi\u1ec7t \u1edf mi\u1ec1n Nam California ch\u01b0a nhi\u1ec1u, nh\u01b0ng ng\u00e0y c\u00e0ng nhi\u1ec1u v\u00e0 phong ph\u00fa l\u00ean nh\u1edd s\u1ef1 tr\u01b0\u1edfng th\u00e0nh c\u1ee7a l\u1edbp h\u1ecdc gi\u1ea3 ng\u01b0\u1eddi M\u1ef9 g\u1ed1c Vi\u1ec7t v\u00e0 nh\u1eefng \u0111\u00f3ng g\u00f3p c\u1ee7a h\u1ecd cho gi\u1edbi h\u1ecdc thu\u1eadt \u1edf M\u1ef9. Gi\u00e1o s\u01b0 (GS) Nhi Li\u00eau n\u1eb1m trong s\u1ed1 ng\u01b0\u1eddi n\u00e0y. C\u00f4 hi\u1ec7n \u0111ang d\u1ea1y trong khoa nghi\u00ean c\u1ee9u v\u1ec1 Hoa K\u1ef3, ng\u01b0\u1eddi M\u1ef9 g\u1ed1c \u00c1, c\u0169ng nh\u01b0 ng\u00e0nh nghi\u00ean c\u1ee9u v\u1ec1 ph\u1ee5 n\u1eef v\u00e0 gi\u1edbi t\u00ednh \u1edf tr\u01b0\u1eddng \u0111\u1ea1i h\u1ecdc University of Texas \u1edf Austin. Cu\u1ed1n s\u00e1ch \u0111\u1ea7u tay mang t\u00ednh \u0111\u1ed9t ph\u00e1 c\u1ee7a c\u00f4 (t\u1ef1a \u0111\u1ec1 Anh ng\u1eef: The American Dream in Vietnamese) xu\u1ea5t b\u1ea3n n\u0103m 2011 \u0111\u01b0\u1ee3c gi\u1edbi h\u1ecdc gi\u1ea3 trong ng\u00e0nh r\u1ea5t h\u01b0\u1edfng \u1ee9ng. GS Nhi Li\u00eau n\u00f3i v\u1ec1 cu\u1ed1n s\u00e1ch n\u00e0y v\u00e0 nh\u1eefng v\u1ea5n \u0111\u1ec1 nghi\u00ean c\u1ee9u m\u1edbi c\u1ee7a c\u00f4 nh\u01b0 sau:<\/p>\n

Anvi<\/strong>: N\u00f3i m\u1ed9t c\u00e1ch ng\u1eafn g\u1ecdn, cu\u1ed1n s\u00e1ch n\u00e0y n\u00f3i v\u1ec1 chuy\u1ec7n g\u00ec?<\/p>\n

GS Nhi Li\u00eau<\/strong>: Cu\u1ed1n s\u00e1ch n\u00e0y \u0111\u1ec1 c\u1eadp \u0111\u1ebfn nhi\u1ec1u v\u1ea5n \u0111\u1ec1. M\u1ed9t trong nh\u1eefng v\u1ea5n \u0111\u1ec1 l\u00e0 s\u1ef1 h\u00ecnh th\u00e0nh b\u1ea3n ch\u1ea5t v\u0103n h\u00f3a Vi\u1ec7t Nam c\u1ee7a ng\u01b0\u1eddi Vi\u1ec7t l\u01b0u vong v\u00e0 di c\u01b0 t\u1ea1i M\u1ef9 qua v\u0103n h\u00f3a ph\u1ed5 th\u00f4ng v\u00e0 c\u00e1c s\u1ea3n ph\u1ea9m v\u0103n h\u00f3a kh\u00e1c. \u0110i\u1ec1u m\u1edbi m\u1ebb v\u1ec1 cu\u1ed1n s\u00e1ch n\u00e0y l\u00e0 t\u00f4i nghi\u00ean c\u1ee9u nh\u00f3m ng\u01b0\u1eddi di c\u01b0 d\u01b0\u1edbi l\u0103ng k\u00ednh kh\u00e1c, xem nh\u1eefng sinh ho\u1ea1t trong cu\u1ed9c s\u1ed1ng h\u00e0ng ng\u00e0y v\u00e0 v\u0103n h\u00f3a ph\u1ed5 bi\u1ebfn \u1ea3nh h\u01b0\u1edfng \u0111\u1ebfn c\u00e1c kh\u00eda c\u1ea1nh trong \u0111\u1eddi s\u1ed1ng v\u0103n h\u00f3a, x\u00e3 h\u1ed9i, ch\u00ednh tr\u1ecb c\u1ee7a ng\u01b0\u1eddi l\u01b0u vong nh\u01b0 th\u1ebf n\u00e0o.<\/p>\n

Anvi<\/strong>: GS c\u00f3 nh\u1eafm \u0111\u1ebfn \u0111\u1ed1i t\u01b0\u1ee3ng \u0111\u1ed9c gi\u1ea3 n\u00f3i ti\u1ebfng Vi\u1ec7t kh\u00f4ng?<\/p>\n

GS Nhi Li\u00eau<\/strong>: C\u00f3 ch\u1ee9, nh\u01b0 ba m\u1eb9 t\u00f4i ch\u1eb3ng h\u1ea1n. T\u00f4i ngh\u0129 \u0111\u1ed9c gi\u1ea3 ch\u1ee7 y\u1ebfu l\u00e0 gi\u1edbi h\u1ecdc thu\u1eadt, nh\u01b0ng t\u00f4i hy v\u1ecdng nh\u00f3m sinh vi\u00ean tr\u1ebb c\u0169ng h\u1ecdc h\u1ecfi \u0111\u01b0\u1ee3c v\u1ec1 kinh nghi\u1ec7m s\u1ed1ng c\u1ee7a c\u1ed9ng \u0111\u1ed3ng n\u01a1i m\u00ecnh \u0111ang \u1edf; ho\u1eb7c nh\u1eefng ng\u01b0\u1eddi d\u00e2n trong c\u1ed9ng \u0111\u1ed3ng; v\u00e0 c\u1ea3 nh\u1eefng ng\u01b0\u1eddi \u0111ang tham gia v\u00e0o nh\u1eefng ho\u1ea1t \u0111\u1ed9ng v\u0103n h\u00f3a c\u1ee7a c\u1ed9ng \u0111\u1ed3ng ng\u00e0y nay m\u00e0 kh\u00f4ng bi\u1ebft \u0111\u01b0\u1ee3c ngu\u1ed3n g\u1ed1c xu\u1ea5t x\u1ee9 c\u1ee7a nh\u1eefng ho\u1ea1t \u0111\u1ed9ng n\u00e0y l\u00e0 nh\u01b0 th\u1ebf n\u00e0o. \u0110\u00f4i khi nh\u1eefng b\u1ea1n tr\u1ebb n\u00e0y ch\u1ec9 m\u01b0\u1eddng t\u01b0\u1ee3ng \u0111\u01b0\u1ee3c c\u1ea3m gi\u00e1c tha h\u01b0\u01a1ng v\u00e0 ho\u00e0i c\u1ed5 v\u1ec1 qu\u00ea nh\u00e0 l\u00e0 nh\u01b0 th\u1ebf n\u00e0o qua c\u00e1c ho\u1ea1t \u0111\u1ed9ng v\u0103n h\u00f3a c\u1ee7a c\u1ed9ng \u0111\u1ed3ng nh\u01b0 thi \u201cHoa H\u1eadu \u00c1o D\u00e0i\u201d, ho\u1eb7c xem nh\u1ea1c Paris By Night, ho\u1eb7c nghe nh\u1ea1c Kh\u00e1nh Ly h\u00e1t, m\u00e0 kh\u00f4ng th\u1eadt s\u1ef1 hi\u1ec3u \u0111\u01b0\u1ee3c xu\u1ea5t x\u1ee9 v\u00e0 t\u00ecnh c\u1ea3nh c\u1ee7a ng\u01b0\u1eddi tha h\u01b0\u01a1ng.<\/p>\n

Anvi<\/strong>: T\u1ea7m quan tr\u1ecdng c\u1ee7a nh\u1eefng ho\u1ea1t \u0111\u1ed9ng v\u0103n h\u00f3a nh\u01b0 Paris By Night, Th\u00fay Nga l\u00e0 nh\u01b0 th\u1ebf n\u00e0o \u0111\u1ed1i v\u1edbi s\u1ef1 h\u00ecnh th\u00e0nh b\u1ea3n ch\u1ea5t v\u0103n h\u00f3a Vi\u1ec7t Nam c\u1ee7a ng\u01b0\u1eddi Vi\u1ec7t l\u01b0u vong?<\/p>\n

GS Nhi Li\u00eau<\/strong>: Nh\u1eefng ho\u1ea1t \u0111\u1ed9ng n\u00e0y l\u00e0 nh\u1eefng ti\u1ebfn tr\u00ecnh v\u0103n h\u00f3a ph\u1ee9c t\u1ea1p, nh\u01b0ng ch\u1ee7 y\u1ebfu ch\u00fang th\u1ec3 hi\u1ec7n \u01b0\u1edbc mu\u1ed1n b\u1ea3o t\u1ed3n v\u0103n h\u00f3a, v\u00e0 s\u1ef1 tr\u00ecnh b\u00e0y t\u00ednh Vi\u1ec7t Nam trong v\u0103n h\u00f3a Vi\u1ec7t Nam. Trong nh\u1eefng b\u0103ng \u0111\u0129a nh\u1ea1c n\u00e0y, ng\u01b0\u1eddi ta c\u00f3 th\u1ec3 h\u1ecdc \u0111\u01b0\u1ee3c nhi\u1ec1u \u0111i\u1ec1u v\u1ec1 c\u00e1c v\u1ea5n \u0111\u1ec1 l\u1ecbch s\u1eed, ng\u00f4n ng\u1eef, v\u0103n h\u00f3a Vi\u1ec7t Nam. V\u00ed d\u1ee5, ngay nh\u1eefng m\u00e0n h\u00e0i k\u1ecbch ng\u1eafn c\u0169ng mi\u00eau t\u1ea3 r\u1ea5t r\u00f5 c\u00e1c v\u1ea5n \u0111\u1ec1 m\u00e0 ng\u01b0\u1eddi Vi\u1ec7t Nam \u0111ang ph\u1ea3i \u0111\u1ed1i di\u1ec7n. H\u00ecnh th\u1ee9c v\u0103n h\u00f3a ph\u1ed5 th\u00f4ng n\u00e0y c\u0169ng l\u00e0 n\u01a1i th\u1ec3 hi\u1ec7n qu\u00e1 tr\u00ecnh h\u1ed9i nh\u1eadp c\u1ee7a ng\u01b0\u1eddi Vi\u1ec7t v\u00e0o x\u00e3 h\u1ed9i m\u1edbi, v\u00e0 n\u1ed7 l\u1ef1c c\u1ee7a ng\u01b0\u1eddi l\u01b0u vong h\u1ed9i nh\u1eadp v\u00e0o v\u0103n h\u00f3a M\u1ef9.<\/p>\n

C\u00f3 r\u1ea5t nhi\u1ec1u m\u00e0n tr\u00ecnh di\u1ec5n trong \u0111\u00f3 nh\u1eefng n\u00e9t \u0111\u1eb7c tr\u01b0ng c\u1ee7a v\u0103n h\u00f3a M\u1ef9 nh\u01b0 West Side Story \u0111\u01b0\u1ee3c k\u1ebft h\u1ee3p, ho\u1eb7c gi\u1edbi thi\u1ec7u, ho\u1eb7c di\u1ec5n gi\u1ea3i theo ki\u1ec3u Vi\u1ec7t Nam cho kh\u00e1n gi\u1ea3 Vi\u1ec7t Nam th\u01b0\u1edfng th\u1ee9c.<\/p>\n

\"\"<\/a>
Nh\u00e0 v\u0103n v\u00e0 nh\u00e0 ph\u00ea b\u00ecnh Nhi Li\u00eau<\/figcaption><\/figure>\n

Anvi<\/strong>: C\u00f3 s\u1ef1 ph\u00e2n bi\u1ec7t r\u1ea1ch r\u00f2i v\u1ec1 b\u1ea3n ch\u1ea5t v\u0103n h\u00f3a Vi\u1ec7t Nam trong c\u00e1c ho\u1ea1t \u0111\u1ed9ng \u00e2m nh\u1ea1c n\u00e0y kh\u00f4ng, khi m\u00e0 v\u0103n h\u00f3a Vi\u1ec7t v\u00e0 Trung Qu\u1ed1c giao thoa \u0111\u00e3 l\u00e2u v\u00e0 ng\u01b0\u1eddi Vi\u1ec7t v\u00e0 Hoa s\u1ed1ng r\u1ea5t g\u1ea7n nhau?<\/p>\n

GS Nhi Li\u00eau<\/strong>: C\u00f3 v\u00e0 kh\u00f4ng. M\u1ed9t ph\u1ea7n, c\u00e1c ho\u1ea1t \u0111\u1ed9ng \u00e2m nh\u1ea1c n\u00e0y kh\u00f4ng th\u1ec3 c\u1ea1nh tranh v\u1edbi h\u00e0ng t\u00e1 phim nhi\u1ec1u t\u1eadp \u0111\u01b0\u1ee3c s\u1ea3n xu\u1ea5t \u1edf Hong Kong, \u0110\u00e0i Loan, Nam H\u00e0n. Do \u0111\u00f3, trong c\u00e1c m\u00e0n tr\u00ecnh di\u1ec5n \u00e2m nh\u1ea1c, c\u00e1c nh\u00e0 s\u1ea3n xu\u1ea5t c\u1ea3i bi\u00ean ho\u1eb7c di\u1ec5n gi\u1ea3i c\u00e1c ch\u1ee7 \u0111\u1ec1 ph\u1ed5 bi\u1ebfn trong phim, thay v\u00ec l\u00e0 th\u00e1ch th\u1ee9c c\u00e1c h\u00ecnh th\u1ee9c v\u0103n h\u00f3a n\u00e0y. Ngo\u00e0i ra, h\u1ecd h\u1ee3p t\u00e1c v\u1edbi c\u00e1c nh\u00e0 s\u1ea3n xu\u1ea5t \u1edf Nam H\u00e0n v\u00e0 sang b\u00ean \u1ea5y tr\u00ecnh di\u1ec5n. H\u00ecnh th\u1ee9c h\u1ee3p t\u00e1c v\u00e0 li\u00ean k\u1ebft v\u1edbi v\u0103n h\u00f3a n\u01b0\u1edbc ngo\u00e0i nh\u01b0 th\u1ebf l\u00e0 m\u1ed9t c\u00e1ch th\u1ec3 hi\u1ec7n b\u1ea3n s\u1eafc v\u0103n h\u00f3a Vi\u1ec7t Nam hi\u1ec7n \u0111\u1ea1i c\u1ee7a ng\u01b0\u1eddi Vi\u1ec7t l\u01b0u vong, kh\u00e1c v\u1edbi ng\u01b0\u1eddi Vi\u1ec7t trong n\u01b0\u1edbc.\u1ede m\u1ed9t kh\u00eda c\u1ea1nh kh\u00e1c, m\u1ed9t y\u1ebfu t\u1ed1 \u0111\u1eb7c th\u00f9 Vi\u1ec7t Nam g\u1eafn li\u1ec1n v\u1edbi b\u1ea3n s\u1eafc Vi\u1ec7t Nam m\u00e0 ng\u01b0\u1eddi Vi\u1ec7t t\u1ea1i M\u1ef9 mang trong m\u00ecnh trong khi c\u00e1c n\u01b0\u1edbc ch\u00e2u \u00c1 kh\u00e1c ho\u1eb7c Trung Qu\u1ed1c kh\u00f4ng gi\u1ed1ng ch\u00fat n\u00e0o, \u0111\u00f3 l\u00e0 kinh nghi\u1ec7m chi\u1ebfn tranh v\u00e0 \u00fd ngh\u0129a c\u1ee7a cu\u1ed9c chi\u1ebfn tranh \u0111\u00f3 \u0111\u1ed1i v\u1edbi h\u1ecd.<\/p>\n

Anvi<\/strong>: GS c\u00f3 th\u1ec3 n\u00f3i r\u00f5 h\u01a1n v\u1ec1 s\u1ef1 li\u00ean h\u1ec7 gi\u1eefa \u00fd ngh\u0129a c\u1ee7a cu\u1ed9c chi\u1ebfn tranh v\u1edbi b\u1ea3n s\u1eafc v\u0103n h\u00f3a Vi\u1ec7t Nam?<\/p>\n

GS Nhi Li\u00eau<\/strong>: Khi ng\u01b0\u1eddi Vi\u1ec7t t\u1ecb n\u1ea1n t\u1ea1i M\u1ef9 kh\u1eb3ng \u0111\u1ecbnh b\u1ea3n s\u1eafc v\u0103n h\u00f3a c\u1ee7a m\u00ecnh, kinh nghi\u1ec7m chi\u1ebfn tranh c\u1ee7a h\u1ecd l\u00e0 \u0111i\u1ec3m n\u1ed5i b\u1eadt nh\u1ea5t. Ng\u01b0\u1eddi Trung Qu\u1ed1c c\u0169ng c\u00f3 ph\u1ea7n b\u1ecb \u1ea3nh h\u01b0\u1edfng b\u1edfi chi\u1ebfn tranh 75. Tuy nhi\u00ean, b\u1ea3n t\u00ednh ng\u01b0\u1eddi Trung Qu\u1ed1c l\u00e0 c\u1ee9 \u0111\u00f3ng g\u00f3i v\u00e0 di c\u01b0 t\u1eeb x\u1ee9 n\u00e0y qua x\u1ee9 kh\u00e1c. L\u1ecbch s\u1eed di d\u00e2n c\u1ee7a h\u1ecd l\u00e0 th\u1ebf. Do \u0111\u00f3, h\u1ecd coi chi\u1ebfn tranh 75 nh\u01b0 l\u00e0 m\u1ed9t trong nh\u1eefng s\u1ef1 ki\u1ec7n kh\u00e1c d\u1eabn \u0111\u1ebfn cu\u1ed9c di d\u00e2n c\u1ee7a h\u1ecd th\u00f4i.<\/p>\n

Trong khi \u0111\u00f3, ng\u01b0\u1eddi Vi\u1ec7t t\u1ecb n\u1ea1n nh\u00ecn th\u1ea5y b\u1ea3n s\u1eafc d\u00e2n t\u1ed9c c\u1ee7a m\u00ecnh b\u1ecb \u0111e d\u1ecda v\u00ec cu\u1ed9c chi\u1ebfn tranh. Khi \u0111\u1ebfn M\u1ef9, h\u1ecd kh\u00f4ng mu\u1ed1n \u201cbi\u1ebfn m\u1ea5t\u201d m\u00e0 ng\u01b0\u1ee3c l\u1ea1i mu\u1ed1n v\u0103n h\u00f3a c\u1ee7a ng\u01b0\u1eddi Vi\u1ec7t l\u01b0u vong \u0111\u01b0\u1ee3c c\u00f4ng nh\u1eadn \u1edf M\u1ef9. H\u1ecd \u0111\u00e3 tranh \u0111\u1ea5u \u0111\u1ec3 kh\u1eb3ng \u0111\u1ecbnh b\u1ea3n s\u1eafc v\u0103n h\u00f3a c\u1ee7a m\u00ecnh nh\u01b0 nh\u1eefng ng\u01b0\u1eddi t\u1ecb n\u1ea1n ch\u00ednh tr\u1ecb c\u1ee7a m\u1ed9t chi\u1ebfn tranh m\u00e0 ng\u01b0\u1eddi M\u1ef9 \u0111\u00e3 th\u1ea5t b\u1ea1i kh\u00f4ng gi\u00fap h\u1ecd \u0111\u01b0\u1ee3c.<\/p>\n

Anvi<\/strong>: GS c\u00f3 th\u1ec3 n\u00f3i v\u1ec1 \u00fd ngh\u0129a c\u1ee7a c\u00e1c cu\u1ed9c thi hoa h\u1eadu \u0111\u1ed1i v\u1edbi c\u1ed9ng \u0111\u1ed3ng ng\u01b0\u1eddi Vi\u1ec7t?<\/p>\n

GS Nhi Li\u00eau<\/strong>: \u0110\u00f3 l\u00e0 c\u00e1c ho\u1ea1t \u0111\u1ed9ng c\u1ed9ng \u0111\u1ed3ng qua \u0111\u00f3 c\u00e1c suy ngh\u0129 v\u1ec1 b\u1ea3n th\u00e2n, v\u1ec1 gi\u1edbi t\u00ednh, v\u1ec1 \u0111\u00e0n b\u00e0 \u0111\u01b0\u1ee3c th\u1ec3 hi\u1ec7n. \u0110\u00f3 l\u00e0 di\u1ec5n \u0111\u00e0n quan tr\u1ecdng \u0111\u1ec3 c\u1ed9ng \u0111\u1ed3ng bi\u1ec3u tr\u01b0ng l\u00f2ng t\u1ef1 h\u00e0o, v\u00e0 ph\u00f4 tr\u01b0\u01a1ng nh\u1eefng y\u1ebfu t\u1ed1 h\u1ecd cho l\u00e0 v\u0103n h\u00f3a ch\u00ednh g\u1ed1c.<\/p>\n

Anvi<\/strong>: Trong qu\u00e1 tr\u00ecnh kh\u1edfi x\u00e2y Little S\u00e0i G\u00f2n, m\u1ed9t ng\u01b0\u1eddi Vi\u1ec7t g\u1ed1c Hoa l\u00e0m ch\u1ee7 nhi\u1ec1u buildings tr\u00ean con \u0111\u01b0\u1eddng ch\u00ednh c\u1ee7a Little Saigon v\u00e0 mu\u1ed1n bi\u1ebfn n\u00f3 th\u00e0nh Chinatown nh\u01b0ng c\u1ed9ng \u0111\u1ed3ng ng\u01b0\u1eddi Vi\u1ec7t \u0111\u00e3 tranh \u0111\u1ea5u \u0111\u1ec3 n\u00f3 \u0111\u01b0\u1ee3c mang t\u00ean Vi\u1ec7t Nam nh\u01b0 ng\u00e0y nay, v\u00e0 r\u1ed3i bi\u1ebfn Little S\u00e0i G\u00f2n th\u00e0nh h\u00ecnh \u1ea3nh thu nh\u1ecf c\u1ee7a m\u1ed9t n\u01b0\u1edbc Vi\u1ec7t Nam l\u00fd t\u01b0\u1edfng. Vi\u1ec7c tranh \u0111\u1ea5u cho Little S\u00e0i G\u00f2n n\u00f3i g\u00ec v\u1ec1 b\u1ea3n s\u1eafc v\u0103n h\u00f3a c\u1ee7a ng\u01b0\u1eddi Vi\u1ec7t Nam?<\/p>\n

[amazon_enhanced asin=”0816665702″ \/][amazon_enhanced asin=”0816665702″ \/][amazon_enhanced asin=”0816665702″ \/]<\/p>\n

GS Nhi Li\u00eau<\/strong>: \u0110\u00f3 l\u00e0 n\u1ed7 l\u1ef1c ch\u00ednh tr\u1ecb c\u1ee7a ng\u01b0\u1eddi Vi\u1ec7t l\u01b0u vong nh\u1eb1m g\u1ea7y d\u1ef1ng m\u1ed9t b\u1ea3n s\u1eafc v\u0103n h\u00f3a kh\u00e1c bi\u1ec7t v\u1edbi ng\u01b0\u1eddi Trung Qu\u1ed1c, d\u1ef1a v\u00e0o kinh nghi\u1ec7m s\u1ed1ng s\u00f3t qua chi\u1ebfn tranh c\u1ee7a ng\u01b0\u1eddi l\u01b0u vong tr\u00ean \u0111\u1ea5t M\u1ef9.<\/p>\n

Anvi<\/strong>: B\u1ea3n s\u1eafc v\u0103n h\u00f3a n\u00e0y s\u1ebd nh\u01b0 th\u1ebf n\u00e0o trong t\u01b0\u01a1ng lai?<\/p>\n

GS Nhi Li\u00eau<\/strong>: Hi\u1ec7n t\u1ea1i c\u00f3 r\u1ea5t nhi\u1ec1u di\u1ec5n bi\u1ebfn x\u1ea3y ra trong v\u00f2ng c\u00e1 nh\u00e2n: nh\u1eefng trao \u0111\u1ed5i qua l\u1ea1i gi\u1eefa M\u1ef9 v\u00e0 Vi\u1ec7t Nam, c\u0169ng nh\u01b0 lu\u1ed3ng ng\u01b0\u1eddi Vi\u1ec7t di c\u01b0, c\u01b0\u1edbi h\u1ecfi, qua l\u1ea1i gi\u1eefa M\u1ef9 v\u00e0 Vi\u1ec7t Nam. Tuy nhi\u00ean, m\u1ed9t c\u00e1ch ch\u00ednh th\u1ee9c v\u00e0 \u1edf n\u01a1i c\u00f4ng c\u1ed9ng, b\u1ea3n s\u1eafc v\u0103n h\u00f3a Vi\u1ec7t Nam c\u1ee7a ng\u01b0\u1eddi l\u01b0u vong \u1edf M\u1ef9 kh\u00f4ng thay \u0111\u1ed5i th\u00ec m\u1ea5y.<\/p>\n

Anvi<\/strong>: Xin GS cho bi\u1ebft nh\u1eefng v\u1ea5n \u0111\u1ec1 nghi\u00ean c\u1ee9u m\u1edbi c\u1ee7a m\u00ecnh l\u00e0 g\u00ec?<\/p>\n

GS Nhi Li\u00eau<\/strong>: M\u1ed9t nghi\u00ean c\u1ee9u l\u00e0 v\u1ec1 c\u00e1c ti\u1ec7m \u0111\u1ed3 c\u01b0\u1edbi v\u00e0 c\u00e1ch h\u1ecd tr\u00ecnh b\u00e0y nh\u1eefng c\u1eb7p v\u1ee3 ch\u1ed3ng tr\u1ebb nh\u01b0 nh\u1eefng c\u00e1 nh\u00e2n hi\u1ec7n \u0111\u1ea1i, h\u1ea1nh ph\u00fac b\u1eb1ng c\u00e1ch nh\u00ecn v\u1ec1 Vi\u1ec7t Nam \u0111\u1ec3 t\u00ecm ki\u1ebfm c\u00e1c y\u1ebfu t\u1ed1 v\u0103n h\u00f3a h\u1ecd cho l\u00e0 ch\u00ednh g\u1ed1c. Trong khi \u0111\u00f3, ng\u01b0\u1eddi Vi\u1ec7t Nam trong n\u01b0\u1edbc l\u1ea1i h\u01b0\u1edbng sang T\u00e2y \u0111\u1ec3 mong t\u00ecm h\u00ecnh \u1ea3nh l\u00fd t\u01b0\u1edfng trong h\u00f4n nh\u00e2n v\u00e0 h\u1ea1nh ph\u00fac. T\u1ea5t c\u1ea3 \u0111\u1ec1u l\u00e0 v\u1ea5n \u0111\u1ec1 t\u00e1i t\u1ea1o v\u0103n h\u00f3a, ch\u1ee9 c\u00e1i g\u1ecdi l\u00e0 ch\u00ednh g\u1ed1c th\u1eadt s\u1ef1 th\u00ec kh\u00f4ng th\u1ec3 \u0111\u1ea1t \u0111\u01b0\u1ee3c.<\/p>\n

M\u1ed9t nghi\u00ean c\u1ee9u song song l\u00e0 v\u1ec1 vi\u1ec7c th\u01b0\u01a1ng m\u1ea1i h\u00f3a c\u00e1c cu\u1ed9c thi hoa h\u1eadu. \u1ede \u0111\u00e2y, ng\u01b0\u1eddi \u0111\u00e0n b\u00e0 \u0111\u01b0\u1ee3c y\u00eau c\u1ea7u ph\u00f4 b\u00e0y da th\u1ecbt nhi\u1ec1u h\u01a1n, c\u00e1c y\u1ebfu t\u1ed1 s\u1eafc t\u1ed9c thi\u1ec3u s\u1ed1 \u0111\u01b0\u1ee3c th\u1ed5i ph\u1ed3ng, c\u01a1 th\u1ec3 con ng\u01b0\u1eddi \u0111\u01b0\u1ee3c tr\u01b0ng b\u00e0y nh\u01b0 m\u1ed9t m\u00f3n h\u00e0ng. \u0110\u1ed3ng th\u1eddi, t\u00f4i c\u0169ng xem x\u00e9t v\u1ea5n \u0111\u1ec1 d\u00f9ng gi\u1ea3i ph\u1eabu th\u1ea9m m\u1ef9 \u0111\u1ec3 t\u1ea1o ra danh t\u00ednh c\u00e1 nh\u00e2n.<\/p>\n

Anvi<\/strong>: Xin c\u00e1m \u01a1n GS \u0111\u00e3 b\u1ecf th\u1eddi gian cho bu\u1ed5i ph\u1ecfng v\u1ea5n.<\/p>\n

\"\"<\/a>
Interviewer Anvi Hoang<\/figcaption><\/figure>\n

Anvi Ho\u00e0ng<\/strong> sinh tr\u01b0\u1edfng t\u1ea1i Vi\u1ec7t Nam, t\u1ed1t nghi\u1ec7p \u0110\u1ea1i H\u1ecdc Khoa H\u1ecdc X\u00e3 H\u1ed9i v\u00e0 Nh\u00e2n V\u0103n, sang M\u1ef9 h\u1ecdc cao h\u1ecdc v\u00e0 r\u1ed3i t\u00ecm th\u1ea5y ni\u1ec1m vui trong vi\u1ec7c vi\u1ebft l\u00e1ch t\u1ef1 do. Anvi vi\u1ebft thu\u1ea7n th\u1ee5c c\u1ea3 ti\u1ebfng Anh v\u00e0 ti\u1ebfng Vi\u1ec7t. Vi\u1ebft \u0111\u1ec3 tung h\u00f4 v\u0103n h\u00f3a Vi\u1ec7t Nam v\u00e0 vi\u1ebft v\u1ec1 s\u1ef1 thay \u0111\u1ed5i. Anvi th\u00edch kh\u00e1m ph\u00e1 th\u1ebf gi\u1edbi \u2018ch\u00e2n trong ch\u00e2n ngo\u00e0i\u2019 m\u00e0 c\u00f4 \u0111ang s\u1ed1ng, v\u00e0 th\u00edch n\u01b0\u1edbc. C\u00f4 s\u1ed1ng \u1edf th\u00e0nh ph\u1ed1 Bloomington, thu\u1ed9c ti\u1ec3u bang Indiana.<\/p>\n

____________________________________________________________<\/em><\/p>\n

B<\/em>\u1ea1<\/em>n c\u00f3 th\u00edch \u0111<\/em>\u1ecd<\/em>c <\/em>diaCRITICS kh\u00f4ng? N\u1ebf<\/em>u c\u00f3 th\u00ec xin m\u1edd<\/em>i\u00a0<\/em>\u0111\u0103ng k\u00fd nh<\/em>\u1ead<\/em>n b\u00e0i <\/em>\u1edf<\/em> \u0111\u00e2y<\/em><\/a>. <\/em><\/p>\n

Vui l\u00f2ng b\u1ecf<\/em> ch\u00fat th\u1edd<\/em>i gian chia s\u1ebb<\/em> b\u00e0i n\u00e0y. Chia s\u1ebb<\/em> (qua email, Facebook, v.v.) gi\u00fap qu\u1ea3<\/em>ng b\u00e1 <\/em>diaCRITICS. M\u1edd<\/em>i b\u1ea1<\/em>n tham gia v\u00e0o c\u00e2u chuy\u1ec7<\/em>n v\u00e0 \u0111\u1ec3<\/em> l\u1ea1<\/em>i l\u1edd<\/em>i b\u00e0n.<\/em><\/p>\n

____________________________________________________________<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Anvi Ho\u00e0ng interviews Professor Nhi Lieu, author of\u00a0The American Dream in Vietnamese. Anvi Ho\u00e0ng ph\u1ecfng v\u1ea5n Gi\u00e1o S\u01b0 Nhi Li\u00eau\u00a0v\u1ec1\u00a0v\u1ea5n \u0111\u1ec1\u00a0\u0111\u00ecnh h\u00ecnh\u00a0v\u0103n h\u00f3a\u00a0c\u1ee7a\u00a0ng\u01b0\u1eddi\u00a0Vi\u1ec7t di d\u00e2n t\u1ea1i\u00a0M\u1ef9.\u00a0Vui l\u00f2ng \u0111\u1ecdc b\u00e0i ti\u1ebfng Vi\u1ec7t b\u00ean d\u01b0\u1edbi, sau b\u00e0i ti\u1ebfng Anh.   Nhi T. Lieu is assistant professor of American Studies, Asian American Studies, and Women\u2019s and Gender Studies […]<\/p>\n","protected":false},"author":35,"featured_media":11446,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_vp_format_video_url":"","_vp_image_focal_point":[],"footnotes":""},"categories":[1459,50],"tags":[],"yoast_head":"\nAnvi Hoang Interviews Critic Nhi Lieu on Vietnamese Authenticity<\/title>\n<meta name=\"description\" content=\"Anvi Hoang Interviews Critic Nhi Lieu on Vietnamese Authenticity\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dvan.org\/2012\/05\/nhi-t-lieu-authenticity-is-not-ever-reachable\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Anvi Hoang Interviews Critic Nhi Lieu on Vietnamese Authenticity\" \/>\n<meta property=\"og:description\" content=\"Anvi Hoang Interviews Critic Nhi Lieu on Vietnamese Authenticity\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dvan.org\/2012\/05\/nhi-t-lieu-authenticity-is-not-ever-reachable\/\" \/>\n<meta property=\"og:site_name\" content=\"DVAN\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/DiasporicVietnameseArtistsNetwork\/\" \/>\n<meta property=\"article:published_time\" content=\"2012-05-09T08:31:20+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-10-15T05:01:54+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/dvan.org\/wp-content\/uploads\/2012\/04\/nhi-lieu114x90.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"114\" \/>\n\t<meta property=\"og:image:height\" content=\"90\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"guest\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@dia_CRITICS\" \/>\n<meta name=\"twitter:site\" content=\"@dia_CRITICS\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"guest\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"24 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/dvan.org\/2012\/05\/nhi-t-lieu-authenticity-is-not-ever-reachable\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/dvan.org\/2012\/05\/nhi-t-lieu-authenticity-is-not-ever-reachable\/\"},\"author\":{\"name\":\"guest\",\"@id\":\"https:\/\/dvan.org\/#\/schema\/person\/8fe953e505afc6616ddd049343855be1\"},\"headline\":\"Anvi Ho\u00e0ng Interviews Nhi T. 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