The Russian Journal of Vietnamese StudiesThe Russian Journal of Vietnamese StudiesВьетнамские исследования2618-9453Institute of China and Contemporary Asia of the RAS68817610.54631/VS.2025.93-688176PhilologyФилологияResearch ArticleF. Dostoevsky's literary works in the contemporary Vietnamese movie: inter-semiotic and inter-cultural travelsЛитературное творчество Ф. Достоевского в современном вьетнамском кино: межсемиотические и межкультурные путешествияTrinhDinh VanЧиньДинь Ван
Russian Federation

Ph.D. (Literature), Head of the Office for Research Affairs, University of Social Sciences and Humanities

к. фил. н., руководитель отдела исследований, Университет общественных и гуманитарных наук

dinhtv@ussh.edu.vnhttps://orcid.org/0009-0002-2867-8959LeTuan ThiЛеТуан Тхи
Russian Federation

Ph.D. (Literature), Lecturer, Faculty of Literature, University of Social Sciences and Humanities

к. фил. н., преподаватель факультета литературы, Университет общественных и гуманитарных наук

letuan@vnu.edu.vnVietnam National UniversityВьетнамский национальный университет151020259311112123072025Copyright ©; 2025, Le T.T., Trinh D.V.Copyright ©; 2025, Ле Т.Т., Чинь Д.В.2025Le T.T., Trinh D.V.Ле Т.Т., Чинь Д.В.https://creativecommons.org/licenses/by-nc-nd/4.0https://vietnamjournal.ru/2618-9453/article/view/688176

This article examines Le Van Kiet’s 2014 film Dịu dàng (Gentle) as an instance of inter-semiotic and cross-cultural adaptation of Fyodor Dostoevsky’s novella A Gentle Creature. Drawing upon the theoretical frameworks of inter-semiotic translation and cross-cultural criticism, the article argues that the film reinterprets Dostoevsky’s characteristic existentialism and profound psychological conflict by transposing them into the context of post-colonial, post-Doi Moi (Renovation) Vietnam, employing a naturalistic aesthetic and deliberate cultural localization strategies. In an era of global cultural convergence, the film emerges as an intertextual practice, where Vietnamese cinema engages in a profound dialogue with the global literary canon by redefining its socio-cultural coordinates. This process, in turn, forges new pathways for reimagining Vietnamese identity and its people in the contemporary era.

В статье рассматривается фильм Ле Ван Киета 2014 года «Кроткая» («Dịu dàng») как пример интерсемиотической и кросс-культурной адаптации повести Ф. М. Достоевского «Кроткая». Автор, опираясь на теоретические основы интерсемиотического перевода и кросс-культурной критики, в статье утверждает, что фильм переосмысливает характерный для Достоевского экзистенциализм и глубокий психологический конфликт, перенося их в контекст постколониального времени, периода «Дой мой» (Обновления) Вьетнама, используя натуралистическую эстетику и стратегии целенаправленной культурной локализации. В эпоху глобальной культурной конвергенции кинематограф предстаёт как интертекстуальная практика, в рамках которой вьетнамское кино вступает в глубокий диалог с мировым литературным каноном, переосмысливая его социокультурные координаты. Этот процесс, в свою очередь, прокладывает новые пути для переосмысления идентичности вьетнамского народа в современную эпоху.

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