Introduction 1
Rationale of the study 1
Choosing a thesis topic related to culture is challenging due to its broad and complex nature Various aspects of culture are explored from different perspectives, leading to diverse definitions by different authors Achieving a deep understanding of culture is difficult since it is intangible and subjective, with perceptions varying among individuals Consequently, this results in a wide range of interpretations and presentations on the subject.
Culture plays a vital role in human life, setting us apart from animals through our behaviors and interactions Despite the growing global convergence in fields like science and technology, cultural diversity remains pronounced across different regions and nations This rich tapestry of cultural identities fosters a deeper understanding among people, making culture a bridge that connects us In today's interconnected world, the urgency to explore and appreciate various cultures is more significant than ever Additionally, the allure of fables, particularly in English and Vietnamese, serves as a compelling reason for this study These stories, featuring both human and animal characters, address real-life phenomena and critique human flaws, offering moral lessons that provoke thoughtful reflection among readers.
Fables that explore philosophies of life stand out as some of the most captivating narratives, offering moral lessons that remain relevant today These stories, often set in the world of animals or humans from the past, not only impart wisdom but also showcase cultural features unique to different nations and regions The settings, characters, and interactions within these fables reveal rich cultural identities, making them an intriguing aspect of storytelling.
Aims and research questions 2
The study aims to identify the typical cultural features (TCFs) present in English and Vietnamese fables, focusing specifically on the most remarkable aspects Additionally, it seeks to contrast these TCFs between the two languages to uncover both similarities and differences To achieve this, the research will address key questions related to these cultural elements in fables.
1 What are the typical cultural features in English fables about philosophy of life?
2 What are the typical cultural features in Vietnamese fables about philosophy of life?
3 What are the similarities of the typical cultural features in English and Vietnamese fables about philosophy of life?
4 What are the differences of the typical cultural features in English and Vietnamese fables about philosophy of life?
Significance of the study 2
This study holds significant value for both cultural researchers and applied linguistics enthusiasts, as it reveals Traditional Cultural Features (TCFs) present in fables from English and Vietnamese Readers and English language learners will gain insights into these TCFs, while a contrastive analysis highlights the similarities and differences between Vietnamese and Western cultures For ESL learners, this research emphasizes the importance of cultural awareness in language acquisition, which has often been overlooked Understanding cultural elements is crucial for navigating diverse communication contexts and minimizing cultural shocks when interacting with speakers from English-speaking countries.
Scope of the study 3
This study examines the thematic cultural factors (TCFs) present in a select number of English and Vietnamese fables While fables encompass a wide range of themes, this research focuses specifically on the philosophy of life, which is a prevalent topic within fable literature The limitation in time, resources, and funding has necessitated this focused approach.
Organization of the study 3
The thesis is structured into five chapters: the introduction outlines the rationale, aims, research questions, scope, and organization of the study The second chapter provides a literature review, summarizing relevant publications on the research topic The third chapter details the methodology, including data collection and analysis procedures The fourth chapter presents the findings in the Results and Discussions section Finally, the fifth chapter summarizes the findings, addresses the study's limitations, and offers suggestions for future research.
Literature View 4
Culture 4
Culture is an intangible concept that can only be experienced through human perception Numerous publications explore culture from various perspectives, with some authors focusing solely on definitions while others delve into specific aspects of cultural significance This diversity in approach has resulted in an abundance of literature on culture, highlighting its multifaceted nature.
Scholars worldwide have varied definitions of culture, with no universally accepted interpretation Goodenough (1964) argues that a proper definition of culture should stem from the methods used to describe specific cultures However, as these methods are still being developed, a precise understanding of what constitutes a society's culture remains elusive.
A society's culture encompasses the knowledge and beliefs necessary for individuals to function acceptably within their community and fulfill various roles Unlike biological heritage, culture is acquired through learning, representing the collective knowledge that members of society must grasp to navigate their social environment effectively.
Culture is not merely a collection of material elements such as objects, individuals, behaviors, or emotions; instead, it represents an organization of these components The actions, social structures, and events within a culture are reflections of how individuals interpret and navigate their environment For those familiar with their culture, these actions and events serve as symbols that represent deeper cultural forms or models.
Describing a culture solely through observable behaviors, social structures, economic activities, and ceremonial events is insufficient According to Goodenough (1964), a deeper analysis is necessary to capture the true essence of a culture.
To develop a robust theory of conceptual models, it is essential to understand them as artifacts that represent specific ideas The effectiveness of this theory is evaluated based on our capacity to interpret and anticipate behaviors within a community, as demonstrated by the insights of its members, who serve as our informants.
Hoijer (1964) references Tylor's (1903) definition of culture as a comprehensive system that encompasses knowledge, beliefs, arts, morals, laws, customs, and habits acquired by individuals within a society He notes that cultural traits can be easily borrowed between neighboring groups, leading to similarities in cultures within the same area due to contact and the transmission of certain features In contrast, Robert Lado (1957) approaches culture by focusing on human behavior, defining cultures as structured systems of patterned behavior and linking them to anthropology.
Cultural anthropologists have evolved from defining culture as a random assortment of traits to recognizing it as a structured pattern and configuration This shift aligns with Edward Sapir's assertion that all cultural behavior is inherently patterned Holliday, Hyde, and Kullman (2004) also support this perspective, suggesting that much of the ongoing debate in the field revolves around this understanding of cultural dynamics.
“culture” in the last fifty years or so have been concerned with challenging models of culture which have emanated from the field of anthropology
Meanwhile, when discussing the concept of culture, Risager (2006:32) briefly presents three dimensions of the concept of culture described by the Polish-British sociologist Zygmunt Baumann (1999) They are:
The hierarchical concept of culture The differential concept of culture The generic concept of culture
Baumann (1999) presents a hierarchical view of culture, suggesting that it is something individuals or societies either possess or lack, and can exist at varying levels This concept is inherently value-laden and cannot be pluralized The definition of "culture" and the notion of the "ideal human" are subjects of societal struggle Achieving culture equates to striving for an ideal human nature, characterized by a conscious and sustained effort to align one's life with the highest potential of human vocation (Baumann, 1999:7).
According to Baumann (1999), culture serves as a distinguishing marker that differentiates groups of people, allowing for a pluralistic understanding of cultural identities Anthropologists describe culture using terms such as ethos, genius, and style, emphasizing its cohesive nature Baumann notes that cultures function as self-contained systems resistant to mixing, primarily evolving through encounters with other cultures, often leading to cultural clashes He also posits that cultures can be compared, enabling the identification and categorization of cultural universals Furthermore, culture can be perceived both externally, through observable behaviors, and internally, by understanding the relevant categories from the perspective of the indigenous people themselves (Baumann, 1999, as cited in Risager, 2006:33).
The generic concept of culture encompasses the shared traits that define humanity, setting it apart from nature and other living beings While the emphasis on the diversity and incompatibility of various cultures is significant, it is essential to recognize a unifying concept that applies to all of humanity This perspective suggests that there exists a singular human culture that transcends time and geography (Baumann, 1999, quoted in Risager, 2006:33).
Risager (1999), building on the work of William (1988) and Fink (1988), identifies three distinct concepts of culture that have emerged over time, each of which continues to influence contemporary interpretations of the term.
The individual concept of culture, as noted by Risager (2006), traces back to Cicero's metaphor "cultura animi," which refers to the cultivation of the soul or mind This notion emphasizes the importance of personal mental development, often linked to divine influence on the soul In contrast, the collective concept of culture encompasses the shared beliefs, practices, and values within a community, while the aesthetic concept of culture focuses on the appreciation of beauty and artistic expression.
In the 16th century, the term "cultura" referred to a process of mental cultivation and pedagogical development, without a specific object in mind It wasn't until the 17th century that the term began to denote the outcomes of this process, reflecting the intellectual, spiritual, and aesthetic achievements of an individual This led to the emergence of the notion of "the cultivated person," characterized by a hierarchical understanding of culture.
According to Risager (2006), the collective concept of culture emerged alongside the individual concept by the late 17th century, with two distinct variants: hierarchical and non-hierarchical The hierarchical variant, which is the earlier of the two, focuses on societal conditions for individual cultivation and the commonalities among "cultivated people." In the 19th century, the aesthetic concept of culture crystallized, encompassing specific spheres such as art, literature, visual arts, and music This aesthetic concept developed concurrently with other cultural concepts, taking on a more individual and hierarchical approach that emphasizes artistic products as the pinnacle of symbolic and aesthetic creativity.
Fables as a type of literature 8
Fables are defined as short allegorical narratives that convey moral lessons, often featuring animal characters that behave like humans They are typically brief and impactful tales, with morals often presented in the form of proverbs The primary purpose of fables is to illustrate and argue for a moral point, making the narrative an effective medium for this purpose While fables do not originate as folktales, they may incorporate folk elements and can be shared within cultural traditions as oral folklore.
A fable is a concise narrative, either in prose or verse, that includes animals, mythical beings, plants, inanimate objects, or natural forces endowed with human traits These stories convey moral lessons, often summarized at the end in a memorable saying.
Fables are a didactic form of literature designed to impart lessons or values, whether passed down orally or crafted by a storyteller They serve to provide sage advice and often highlight human folly, offering examples of behaviors to avoid rather than emulate.
In fables, characters can be a diverse range of entities including people, gods, animals, or inanimate objects When animals and objects are featured, they exhibit human-like thoughts and speech, while still behaving according to their nature For instance, a clay pot in a fable may express its fear of being broken, illustrating this unique blend of characteristics.
Fables typically feature straightforward narratives that do not require in-depth knowledge of the characters for comprehension This simplicity is often achieved through the use of animals, which consistently exhibit recognizable traits across different tales, making them easily relatable and understandable for readers and listeners alike.
Fables often feature anthropomorphic animals that can reason and speak, with Aesop being a notable contributor to this genre in antiquity His well-known tales include "The Tortoise and the Hare," which highlights the themes of perseverance and overconfidence through a race, and the story of a fox dismissing unreachable grapes as "sour grapes," illustrating the concept of rationalizing disappointment.
Fables are a genre of fiction in literature characterized by simple narratives featuring characters such as animals, humans, or inanimate objects A defining element of fables is the moral or lesson that is conveyed at the conclusion of each story Additionally, the characters and themes within fables are often shaped by cultural influences.
2.2.2 Fables about philosophy of life
Fables encompass a diverse array of themes, often reflecting human relationships through animal behaviors, explaining natural phenomena, or depicting daily human interactions This study focuses primarily on the philosophies of life, posing the question, "What is philosophy of life?" According to Dictionary.reference.com, it is defined as "any philosophical view or vision of the nature or purpose of life or of the way that life should be lived." While this definition is straightforward, Swami Krishnananda offers a deeper perspective, describing philosophy as a systematic evaluation of life and the universe, grounded in fundamental principles Additionally, another definition emphasizes philosophy as a quest for a comprehensive understanding of human existence, aiming to rationally justify logical inferences, human values, and interpretations of reality.
Fables about the philosophy of life are narratives that convey moral lessons, making them essential tools for understanding life's complexities Common across cultures, these fables serve as profound teachings, offering insights into how to navigate existence Ultimately, they hold greater significance than mere artistic expression, as they provide valuable lessons that shape our understanding of life and our approach to living it.
Methodology 11
Subjects 11
In this study, the subjects are 15 fables about philosophy of life in English and 15 fables about philosophy of life in Vietnamese
The 15 English fables come from the collection of Aesop’s fables This collection is taken from the website An English-Zone.com It is also noted that An English-zone.com is a webpage for online English learning and teaching This is a reliable website in terms of academic English and is very well – known in the field of teaching and learning English as a foreign language (EFL) The English language used on this webpage is the standard one; and the collection of Aesop’s fables on this webpage is used as the material for reading skills Therefore, these fables are quite reliable for academic purposes
The 15 Vietnamese fables in this study are taken from the book “Tổng tập văn học dân gian người Việt - Tập 10: Truyện ngụ ngôn” (The great collection of Vietnamese folk literature – Volume 10: Fables) by Social Science Publishing House, Hanoi (2003) The book consists of hundreds of fables of different types like prose, poetry In particular, all the fables are collected from different regions of Vietnam; therefore, the regional diversity is guaranteed In this study only those of prose are taken as the subject of the study
3.2 Data collection and data analysis procedures
Fifteen fables reflecting the philosophy of life were selected in both English and Vietnamese from two sources These fables were meticulously read and analyzed to address the initial research questions.
The setting of a story is crucial as it defines the environment where characters interact, which can be rural, urban, or mountainous This backdrop may include various locations such as a room, market, or field Additionally, everyday objects featured in fables play a significant role in revealing cultural traits, as they are shaped by the cultural context in which they exist.
Fables feature a diverse array of characters, including humans such as farmers, merchants, huntsmen, and family members, representing various social classes and influenced by cultural elements Additionally, many fables incorporate animal characters, both wild and domestic, such as tigers, lions, foxes, wolves, hares, tortoises, and chickens, enriching the storytelling experience.
This study examines the use of language in fables as a means of communication among characters, focusing specifically on the directness and indirectness of their speech It highlights how cultural elements influence the language used, as the characters' words are deeply embedded with cultural significance While language encompasses a wide range of linguistic properties, this research narrows its focus to the nuances of direct and indirect communication within the context of fables.
This study explores the expression of life philosophies within fables, focusing on themes such as human relationships and the conflict between good and evil It examines whether these philosophies are conveyed implicitly or explicitly, highlighting the significant influence of cultural elements on their portrayal.
To address questions regarding the similarities and differences in typical cultural features (TCFs) of English and Vietnamese fables about the philosophy of life, a comparative analysis will be conducted This examination will highlight how both cultures convey moral lessons and philosophical insights through their fables, while also exploring the distinct cultural nuances that shape these narratives By analyzing the TCFs in English and Vietnamese fables, we can better understand the shared values and unique perspectives that each culture offers in their storytelling traditions.
This chapter has detailed the study's topics and the methods used for data collection and analysis The forthcoming chapter will present the study's results, addressing the four research questions posed.
Data collection and data analysis procedures 12
In this chapter, the results of the study will be discussed with relevant citations from fables in English and Vietnamese The four research questions will be answered in turn
4.1 Typical cultural features of English fables about philosophy of life
4.1.1 Features of the settings and objects
Table 1: The TCFs of the settings and objects in English fables about philosophy of life
CA: Fables with characters as animals
CHA: Fables with characters as humans and animals
CH: Fables with characters as humans
R: Rural setting U: Urban setting D: Domestic animals ND: Non domestic animals
Table 1 illustrates the thematic and contextual features (TCFs) of English fables that explore the philosophy of life Notably, 73.3% of the fables, specifically 11 out of 15, are set in rural environments Additionally, the table highlights the distribution of characters, revealing a mix of animal characters (CA) alongside human and animal representations.
Results and discussions 14
Typical cultural features of English fables about philosophy of life 14
4.1.1 Features of the settings and objects
Table 1: The TCFs of the settings and objects in English fables about philosophy of life
CA: Fables with characters as animals
CHA: Fables with characters as humans and animals
CH: Fables with characters as humans
R: Rural setting U: Urban setting D: Domestic animals ND: Non domestic animals
Table 1 illustrates the thematic context factors (TCFs) of settings and characters in English fables that explore life philosophy Notably, 73.3% of the analyzed fables, or 11 out of 15, are set in rural environments Additionally, the distribution of characters reveals a mix of animals and humans, highlighting the diverse representation within these narratives.
(CHA), and characters as humans (CH) in rural setting are 26.6 %, 20 % and 26.6 % respectively On the contrary, there are no fables in which urban setting is employed
Most English fables are set in rural environments, as illustrated in Table 1, which highlights locations such as "the field" and "the plowland" where farmers engage in their daily work.
The rural setting is a defining characteristic of Aesop's fables, reflecting the historical context in which they were written, when farming was the primary economic activity This dominance of agricultural landscapes highlights the significance of the field as the story's backdrop For instance, in "The Farmer and the Crane," key locations such as "the feeding ground" and "plow land newly sown with wheat" emphasize the importance of rural environments in these narratives Thus, it is evident that rural settings are a typical feature of fables in Western cultures.
In addition to wheat, farming in the West encompasses a variety of crops, including vineyards, as illustrated in the fable "The Farmer and His Son." This fable highlights the rural setting where farms and vineyards are integral, reflecting the typical agricultural production in Western regions.
Table 1 indicates that urban settings are absent in fables, which is understandable given that most people in ancient times lived by farming and raising livestock in rural areas The limited presence of urban life during that era reflects the cultural context, making urban environments an uncommon theme in fables.
The TCFs are represented through objects in seven fables (46.7%) that embody cultural features Key tools such as spades and mattocks in "Farmer and his Sons," wagons and wheels in "Hercules and the Wagoner," and panniers in "The Merchant and His Donkey" highlight the significance of farming in daily life These domestic items, along with agricultural products like fleece, reflect the cultural identities tied to farming practices.
Wool and flesh from sheep are essential farming products that play a significant role in Western lifestyles The tools associated with sheep farming, such as shears used by farmers, also reflect cultural significance in the West Additionally, non-domestic elements like the oak tree, as referenced in "The Hunter and the Woodman," are emblematic of Western cultural identity, highlighting the deep connection between agriculture and nature in these societies.
Easop's fables encapsulate both ancient and contemporary European cultural identities, distinguishing them from other global cultures The settings and objects within these fables have become iconic, often serving as stereotypes for Western rural life.
In English fables, characters play a crucial role in conveying Traditional Cultural Features (TCFs) and are categorized into three main groups: animals, humans, and a combination of both Animal characters are further divided into domestic animals (DA) and non-domestic animals (NDA), while human characters are classified based on family relations (FR), career relations (C), and social relations (SR) This blend of human and animal characters is a hallmark of fable storytelling, as illustrated in Table 2, which outlines the TCFs associated with characters in English fables.
Table 2: The TCFs of characters in English fables
CA: Fables with characters as animals
CHA: Fables with characters as humans and animals
CH: Fables with characters as humans
DA: Domestic animals NDA: Non-domestic animals FR: Family-related relation C: Career relation
Table 2 indicates that a significant portion of fables features animal characters, with 40% involving domestic animals and 53% featuring non-domestic animals This highlights that animals in fables often embody various cultural traits.
Cultural identities are often reflected in the types of domestic animals that are prevalent in Western societies, such as sheep, goats, horses, and donkeys These animals are primarily kept for food, products like wool and milk, or for their services in agriculture, such as ploughing and transportation The abundance of green fields, pastures, and meadows in the West creates an ideal environment for raising these animals, leading to a unique interrelationship between the animals and their owners This dynamic not only supports the livelihoods of families but also contributes to the development of a distinctive cultural identity rooted in agriculture and animal husbandry.
Non-domestic animals exhibit a remarkable diversity of species, including notable examples such as the wolf featured in fables like "The Wolf and the Lamb" and "The Shepherd and the Wolf."
“the hare” and “the tortoise” in “ The Hare and the Tortoise ”; “the fox” in “ The Fox and the
In "The Raven and the Swan," "The Lioness," and "The Bear and the Two Travelers," various wild animals represent typical figures in Western culture, reflecting the historical prevalence of wildlife in ancient forests These animals have become cultural symbols, leading to stereotypes where foxes and wolves are seen as cunning and malevolent, while lambs, goats, and tortoises symbolize innocence and kindness The human characters in these fables primarily illustrate family dynamics, career relationships, and social interactions, with a notable emphasis on father-son relationships, such as in "Father and His Son" and "The Farmer and His Son." This focus stems from socio-cultural influences of the time, where men held dominant roles as breadwinners and were more respected than women, a dynamic that is evident in the absence of mother-daughter or father-daughter relationships in Aesop's fables.
A dying father wanted to ensure his sons would care for the family farm as he had He told them there was a hidden treasure in the vineyards After his passing, the sons diligently excavated the land, but found no treasure However, their hard work led to an unexpected and bountiful harvest from the vines, proving that dedication to the land yields rich rewards.
In rural narratives, the portrayal of human characters often revolves around the theme of work, with farming as a central focus The figure of "the farmer" emerges as a key character, highlighting the significance of agricultural labor in these settings.
The TCFs in Vietnamese fables about philosophy of life 24
Vietnamese culture, much like Western culture with its unique identities in fables, is profoundly shaped by the characteristics of water rice agriculture These traits have developed over centuries, solidifying into distinct Vietnamese identities Scholars such as Tran Ngoc Them (1995), Tran Quoc Vuong (1996), and Nguyen Van Do (2004) have explored these cultural elements This study aims to uncover additional facets of Vietnamese culture as reflected in fables that convey philosophical insights about life.
4.2.1 Features of the settings and objects
Table 5 shows the features of the settings and objects in Vietnamese fables about philosophy of life
Table 5: The features of the settings and objects in Vietnamese fables about philosophy of life
CA: Fables with characters as animals
CHA: Fables with characters as humans and animals
CH: Fables with characters as humans
RS: Rural settings US: Urban settings DO: Domestic objects NDO: Non-domestic objects
Vietnamese fables predominantly feature rural settings, with 73.3% of the stories taking place in the countryside and none set in urban environments Additionally, 53.3% of these fables include domestic objects, while only 20% incorporate non-domestic elements.
Vietnamese fables are rich in cultural features, often set in iconic locations such as "cánh đồng" (rice fields) and "trên bờ sông" (by the riverside) Notably, settings like "đầu làng" (the village entrance) and "ruộng" (rice plots) are emblematic of Vietnam's agricultural society, highlighting its unique identity rooted in water-rice farming Additionally, other culturally significant locations, such as "nhà ông Đồ" (the scholar's house), further illustrate the distinctiveness of Vietnamese cultural narratives.
Nghè” (at the village teacher’s house), “đám ma trên đường” (the funeral on road) The settings above are very distinctive in Vietnamese culture
Vietnamese culture is richly reflected in both the daily meals and agricultural tools of farmers Traditional Vietnamese meals, characterized by staples such as rice ("cơm"), fish ("cá"), eggplant ("cà"), and soup ("canh"), form the foundation of their diet Additionally, agricultural fables highlight essential farming tools like the plow ("cày"), harrow ("bừa"), and seed drill ("bắp cày"), which are crucial for agricultural production in Vietnam This cultural essence is not only evident in domestic items but also in various non-domestic objects that symbolize the agricultural lifestyle.
The pagoda, the sound of the bell, and the river are iconic symbols of Vietnamese culture Additionally, rural life in Vietnam is vividly represented by the imagery of funerals, characterized by flags, drums, and trumpets.
Vietnamese culture is fundamentally shaped by water rice production, influencing daily activities and social habits This agricultural practice not only sustains livelihoods but also fosters unique cultural characteristics that may appear stereotypical when viewed through the lens of other cultures.
Vietnamese fables feature two main character groups: animals and humans Animal characters are categorized into domestic and non-domestic subgroups, while human characters are divided into three categories based on their relationships: family, career, and social connections.
Table 6 highlights the cultural characteristics of characters in Vietnamese fables, revealing that 13% of these stories focus on family-related relationships, 40% emphasize career-related connections, and 26.2% illustrate social relationships among characters.
Table 6: The TCFs of the characters in Vietnamese fables about the philosophy of life
CA: Fables with characters as animals
DA: Domestic animals NDA: Non-domestic animals
CHA: Fables with characters as humans and animals
CH: Fables with characters as humans
SR: Social -related C: Career- related
The relationships depicted in fables often reflect universal family and social dynamics, but it is the characters' occupations that reveal distinct cultural identities, particularly in Vietnamese culture, which is rooted in rice cultivation In this context, the role of the "nông dân" (farmer) emerges as a quintessential representation of rural Vietnamese life, highlighting the unique characteristics of Vietnamese farmers compared to their Western counterparts These farmers primarily focus on rice production, embodying the cultural essence of Vietnam and serving as vital representatives of the nation's agricultural community Additionally, the term "người thợ cày" (ploughman) is synonymous with "nông dân," further emphasizing the importance of farming in Vietnamese society.
In Vietnamese culture, the image of a farmer working with a plough and buffalo is iconic, representing the traditional role of "nông dân" or "thợ cày." Beyond farming, other professions also reflect cultural characteristics, such as the "thầy bói" or fortune teller, who is often visually impaired and makes a living by predicting people's futures This occupation remains prevalent in traditional Vietnamese society, highlighting the diverse aspects of its cultural heritage.
Vietnamese fables often depict characters that embody the philosophical essence of life, reflecting distinct aspects of Vietnamese culture These characters not only represent cultural identities from the past but also continue to resonate in contemporary society, establishing themselves as enduring stereotypes within Vietnamese cultural narratives.
Animal characters in fables often reflect distinct cultural traits, with a notable prevalence of domestic animals over non-domestic ones According to data, the buffalo ("trâu") emerges as the most commonly featured animal, highlighting its significance in Vietnamese agriculture This vital role is underscored by the numerous sayings and proverbs that the Vietnamese people have developed around the buffalo, illustrating its importance in their daily lives and cultural identity.
“Con trâu là đầu cơ nghiệp”
“Trâu ơi ta bảo trâu này
Trâu ra ngoài ruộng trâu cày với ta
Cấy cày vốn nghiệp nông gia
Ta đây trâu đấy ai mà quản công
Bao giờ cây lúa còn bông
Thời còn ngọn cỏ ngoài đồng trâu ăn.”
In Vietnamese culture, dogs and chickens are commonly kept as domestic animals in many households The bond between a dog and its owner is particularly significant, reflecting a unique relationship that is cherished in Vietnamese society.
“Con không chê cha mẹ khó, chó không chê chủ nghèo”
“Trâu”, “chó”, “gà” are typical of domestic animals in Vietnamese culture
In Vietnamese fables, various non-domestic animals such as frogs, toads, crabs, snails, and even leeches play significant roles, reflecting the cultural importance of water-rice production These animals are integral to Vietnam's agricultural landscape, symbolizing the essence of water-rice farming and its traditions.
In Vietnamese culture, certain animals, particularly chickens, hold significant identities beyond their role in agriculture The examples of "Gà ông Đồ" and "gà ông Nghè" illustrate the deep-rooted tradition of raising chickens for food and the enjoyment of cockfighting, a practice that remains popular, especially at the beginning of the year This unique cultural phenomenon is exclusive to Vietnam, where chickens symbolize unity, particularly among siblings.
“Khôn ngoan đối đáp người ngoài
Gà cùng một mẹ chớ hoài đá nhau”
Apart from domestic animals, Vietnamese fables also have some characters as wild animals
The similarities and differences of the TCFs in English and Vietnamese fables about
Despite being composed by different authors at different times, the fables in English and Vietnamese share some similarities in terms of culture
Both English and Vietnamese fables exhibit similar cultural characteristics in their settings and objects, as illustrated in Tables 1 and 5 Notably, the majority of these fables are set in rural environments, with a significant emphasis on agricultural landscapes such as "plowland" and "farms" in Western contexts.
“cánh đồng”, “đồng lúa” in Vietnam The main crops grown in these places are “wheat”,
In both Western cultures, like England, and in Vietnam, there are significant agricultural elements, such as "vine" and "lúa" (rice), that highlight commonalities in rural life These agricultural staples serve as essential foundations for societal existence, reflecting shared values and lifestyles Additionally, concepts like the "country lane" in English fables further illustrate the importance of rural settings in shaping cultural narratives.
“con đường”, “ven đường” in Vietnamese ones
Both English and Vietnamese fables feature animal characters that reflect similar traditional cultural frameworks (TCFs) As illustrated in Tables 2 and 6, these fables include both domestic and wild animals Certain stereotypes about specific animals are prevalent in both cultures; for instance, the traits of cruelty, slyness, and cunning are commonly associated with the "fox," "wolf," and "bear" in English, while in Vietnamese, these characteristics are attributed to "con hổ," "con cọp," and "con cáo." Conversely, the traits of being small, timid, and kind are also shared across both cultures.
In both English and Vietnamese cultures, fables often feature animal characters such as "lamb," "sheep," and "tortoise" in English, or "châu chấu" and "nai" in Vietnamese Additionally, human characters, particularly the "farmer" or "nông dân," share significant cultural similarities Farmers in both cultures are depicted as the individuals responsible for cultivating crops on the "farm" or "cánh đồng," making the image of the farmer a common and relatable figure across these traditions.
The characters in the fables exhibit a striking similarity in their conversational language, predominantly utilizing direct and literal expressions As highlighted in Tables 3 and 7, both English and Vietnamese fables favor straightforward communication This simplicity in language stems from the fact that these fables were originally crafted for lower-class audiences, making them accessible and easy to comprehend.
The philosophies of life conveyed in fables are fundamentally similar across different languages, emphasizing universal moral lessons applicable to various situations and attitudes towards good and evil These teachings are widely accepted across diverse societies and cultures.
“Misfortunes test the sincerity of friends” ( The bear and the two travelers )
“Self help is the best help” ( Hercules and the wagoner )
“The least outlay is not always the greatest gain” ( The widow and the sheep )
“Gieo gió gặp bão” ( Gieo gió gặp bão )
“Sự hung hãn đâu phải là sức mạnh” ( Người đi đường và con chó )
In summary, the fables of English and Vietnamese cultures share notable similarities, particularly in their settings, character representations—both animal and human—and their linguistic styles Additionally, both traditions convey comparable philosophical messages, highlighting the universal themes present in these narratives.
Besides some similarities in terms of settings, characters and philosophies of life between fables in English and Vietnamese, there are several differences
While both English and Vietnamese fables predominantly feature rural settings, they reflect distinct cultural differences In Vietnamese culture, the concept of "rural" is closely tied to agricultural production, prominently represented by images such as "cánh đồng," "đồng lúa," "lúa," "làng," and "đầu làng."
Vietnamese rural life, whereas in Western culture, they are “farm”, “field”, “plowland”,
“wheat land”, “country lane” Each of the settings holds the distinctive TCFs of each region
The cultural disparities between the East and West stem from distinct natural and socio-cultural conditions Eastern culture is predominantly rooted in agricultural practices, particularly rice cultivation, while Western culture focuses on farming specific crops This divergence in agricultural production significantly influences the respective cultures Additionally, these cultural differences are reflected in the characters of fables, where the portrayal of domestic animals varies In the West, for example, "sheep" are commonly featured as domestic animals, highlighting the contrasting agricultural practices and cultural narratives.
In Vietnam, animals like "chó" (dog), "gà" (chicken), "trâu" (water buffalo), and "bò" (cow) embody the country's cultural identity, similar to how "goat," "donkey," and "lamb" represent other nations Non-domestic animals also reflect unique cultural traits, with species such as "fox," "wolf," and "bear" thriving in the forest-rich regions of Europe Additionally, birds like "swan" and "raven" are prevalent there due to specific ecological conditions Conversely, Vietnam's agricultural landscape fosters the presence of creatures like "ếch" (frog), "nhái" (toad), and "cua" (crab), highlighting the distinct relationship between culture and local fauna.
“đỉa” Concerning the jobs in each culture, due to the differences in climate and geographical as well as socio-cultural conditions, there are “farmer”, “hunter”, “woodman”, “merchant”,
“butcher”, “shearer” in Western culture, while there are “nông dân”, “thợ cày”, “ông Đồ”,
“ông Nghè”, “thầy bói” in Vietnamese culture, each of which bears certain typical cultural features
The expression of life philosophy in fables varies across cultures, reflecting linguistic differences While the core philosophical themes remain similar, their presentation diverges significantly between cultures Aesop’s fables typically conclude with explicit moral lessons, highlighting a direct and straightforward Western approach In contrast, Vietnamese fables often embed their philosophies subtly within the narrative, showcasing an indirect and nuanced style of communication This contrast illustrates the differing cognitive styles: the West favors clarity, while Vietnam embraces hidden meanings.
In summary, English and Vietnamese fables exhibit significant differences, particularly in their settings, objects, characters, and the expression of life philosophies.