I presented this research at Purdue University's Undergraduate Research Symposium in Fall 2025. The symposium provided an opportunity to share findings with the Purdue community, receive feedback from faculty and peers, and discuss potential future directions for the project.
This research examines Anton Chekhov's profound influence on Vietnamese writers Nam Cao and Nguyễn Tuân through comparative close reading of original Russian texts, Vietnamese translations, and critical scholarship spanning 1950 to the present.
The central question: how does Chekhovian realism, of its psychological depth, moral ambiguity, and quiet social critique, travel across radically different cultural and historical contexts?
Review of existing scholarship on Chekhov's influence, translation studies, and Vietnamese literary history. Established theoretical framework and research methodology.
Close reading of selected Chekhov works in Russian and Vietnamese translations. Documented translation choices and cultural adaptations across multiple versions.
Systematic comparison of narrative techniques, character development, and thematic elements. Identified patterns of cultural adaptation.
Synthesizing findings into written paper and presentation. Exploring connections between literary translation and cross-cultural design principles.
Belikov, Chí Phèo, and Huấn Cao are victims of their social environments. They are dehumanized by systems that manufacture outcasts through collective indifference rather than individual cruelty.
Burkin's ridicule in The Man in a Case mirrors the village's prejudiced chorus in Chí Phèo. Truth lives between the lines, not in what narrators claim.
The most destructive forces are quiet: conformity, social judgment, collective indifference wearing characters down without a single overtly violent act.
Nam Cao's distinct contribution: intellectuals like Thứ in Sống mòn trapped between colonial material precarity and the aspiration for ethical, meaningful work.
Nguyễn Tuân's condemned calligrapher Huấn Cao maintains artistic integrity before execution, showing art as spiritual resistance, beauty as the last act of defiance.
Ranevskaya's orchard and Huấn Cao's final brushstroke both glow at the threshold of collapse, when dignity shines brightest at the moment of historical rupture.
I was awarded this certification upon completion of the research project under the mentorship of Prof. Olga Lyanda-Geller, recognizing the comparative analysis of Anton Chekhov's literary influence across Russian and Vietnamese literary traditions.