Artigos de revistas: "Vietnamese poems"

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Nguyen Hong, Linh. "Tang poetry of some poets during their exile in Vietnam". Journal of Science Social Science 67, n.º 1 (fevereiro de 2022): 23–31. http://dx.doi.org/10.18173/2354-1067.2022-0003.

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The Tang Dynasty had a prosperous economy and political stability and good educational policies marking the golden age of Tang Poetry with the greatest number of poets and the most brilliant number of compositions in the history of classical Chinese poetry. As a precious cultural heritage, Tang poetry and the culture of the Tang Dynasty were positively received in Vietnam… Vietnam has been many in-depth research works about regarding the influence and reception of some typical poets of the Tang period, namely DuFu, Li Bai, Bai Ju Yi… Other Tang poets are still faint silhouettes. In the process of studying the history of the propagation and reception of Tang poetry into Vietnam, we have more knowledge about Tang poems composed by poets during their exile in our country. They have an intimate relationship with Vietnamese writers, so they have had the opportunity to disseminate the Tang poetry, and have contributed several poems with the enormous value in content and art at the same time. Within the scope of the article, we focus on introducing and surveying poetry in the exile of two poets of the Early Tang period – namely Du Shen Yan and Shen Quan Qi. The survey of poems written in a special historical period by two poets shows that the beauty and undying vitality of the Tang poetry is also the contribution of poems describing Vietnam’s nature, landscapes, and Vietnamese.

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Chi, Le Thi Giao, e Trang Luu. "An Investigation into Conceptual Metaphors of WATER in English and Vietnamese Poetry". International Journal of English Language Studies 5, n.º 2 (22 de maio de 2023): 57–65. http://dx.doi.org/10.32996/ijels.2023.5.2.6.

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This study is conducted with the aim of identifying conceptual metaphors of WATER in English and Vietnamese poetry. It seeks to find out the similarities and differences in the conceptualization of metaphors of WATER in the two languages; then suggest some implications for the teaching and learning process. In the study, descriptive, quantitative, qualitative approaches and a contrastive analysis are employed. 150 English and 150 Vietnamese samples are taken from a corpus of English and Vietnamese poems from the 19th and 20th centuries. The results show that ten conceptual metaphors of WATER in both English and Vietnamese are discovered within the scope of the study. Both English and Vietnamese poets make use of three types of poetic reworking of conventional metaphors, namely extending, elaboration, and combining. Since the meaning of a metaphor is influenced by culture and personal experiences, the concepts in the metaphors might differ significantly across Vietnamese and English cultures.

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Vu, Hoang Minh. "Between Propaganda and Cao-Mienism". Journal of Vietnamese Studies 15, n.º 1 (2020): 49–76. http://dx.doi.org/10.1525/vs.2020.15.1.49.

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The generation of soldiers, advisors, politicians, and civilians who participated in Vietnam’s intervention in Cambodia between 1978 and 1989 had diverse, colorful, and powerful experiences. Their impressions and reflections as immortalized in diaries, songs, poems, plays, short stories, and even novels form the core of popular memory of Vietnam’s long involvement in Cambodia, which I term Vietnam’s Cambodian Decade. I argue that all Vietnamese literature on this period exhibits some combination of state propaganda to justify the Vietnamese presence in Cambodia on the one hand, and exoticization of Cambodia and Cambodians on the other. This latter tendency I term “Cao-Mienism,” drawing the connection between Edward W. Said’s critique of Orientalism and the old Vietnamese term for Cambodia, Cao Miên, which carries many outdated connotations of a mystical, uncivilized, violent, and hypersexual other. I divide Vietnamese literature on the Cambodian Decade into four distinct groups, based largely on the chronological order of their publication, but also on the distinct literary characteristics of each group, thereby charting the evolution of Vietnamese views of the Cambodian Decade through the years. My main finding is that Vietnamese literature on the Cambodian Decade started out largely to serve the needs of state propaganda, but has in time shifted decisively to Cao-Mienizing Cambodia. I conclude by warning that both strands of propaganda and Cao-Mienization remain relevant in contemporary Vietnamese literature and can serve to perpetuate and legitimize a hegemonic discourse on Cambodia that is detrimental to bilateral relations.

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Luu Quy, Khuong, e Trang Luu. "Water as Metaphor of Human Beings in English and Vietnamese Poems". Journal of English Language Teaching and Applied Linguistics 6, n.º 2 (3 de maio de 2024): 27–36. http://dx.doi.org/10.32996/jeltal.2024.6.2.5.

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This study aims to investigate the conceptual metaphors of water, which are metaphorically used to describe human beings, emotions, behaviours and relationships in English and Vietnamese poems. Based on the theory of cognitive linguistics and conceptual metaphors of Kövecses (2002) and Lakoff and Johnson (1980), this study examined 200 English and Vietnamese samples from a collection of poems written in the nineteenth and twentieth centuries. Through the application of descriptive, quantitative, and qualitative approaches and contrastive analysis, the study reveals that there are 6 categories of water images which are metaphorically used to characterize human beings. The study also finds out the similarities and differences between conceptual metaphors of water symbolizing human beings in English and Vietnamese poems. This investigation is hoped to improve our understanding of how metaphorical phenomena are interpreted across languages and enhance the process of teaching and learning English.

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Haskins, Lola, e Andrea Hoa Pham. "Five Conversations between Vietnamese and American Poems". Delos: A Journal of Translation and World Literature 34, n.º 2 (14 de novembro de 2019): 145–61. http://dx.doi.org/10.5744/delos.2019.1017.

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Van, Vu Hong. "Ho Xuan Huong’s Nom Poetry and Its Significance to the Current Issues of Gender Equality". Al-Adabiya: Jurnal Kebudayaan dan Keagamaan 19, n.º 1 (30 de junho de 2024): 89–105. http://dx.doi.org/10.37680/adabiya.v19i1.5238.

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Ho Xuan Huong was a famous Vietnamese poet who lived in the late 18th and early 19th centuries. She left behind many unique poems with a poetic style that is both thanh (right and pur vulgar) or tục (vulgar and dirty) and was dubbed “the Queen of Nom Poetry”. While nom poetry is a genre of poetry passed down from generation to generation without original text, Huong is considered one of the unique poets of Vietnamese literature. Many of her works have been lost; up to now, her poems still in circulation are mainly oral Nom poems. Her poetic system focuses primarily on promoting the role of women under the harsh regime of the feudal dynasty which is expressed to honor women while mocking and pointing out the negative aspects of the regime of “trọng nam khinh nữ" (male chauvinism, to value men above women). Using qualitative research methods and referencing several previous studies combined with a survey of some historical data, is the main method of this research. Researching feminism in Huong’s nom poetry allows future generations to have a more complete and comprehensive view of the condition of women under feudalism, ideas that are ahead of their time and humanely profound; from there, determine its value and significance to the current issue of gender equality.

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Linh, Nguyen Hong, e Cheo Thuy Linh. "FRIENDSHIP IN THE POEMS OF DU FU (CHINA) AND NGUYEN KHUYEN (VIETNAM)". International Journal of Education Humanities and Social Science 07, n.º 02 (2024): 240–44. http://dx.doi.org/10.54922/ijehss.2024.0676.

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It can be said that Tang poetry achieved great and brilliant achievements in Chinese literature with two typical representatives, Du Fu and Li Bai. Tang poetry had a great influence on Vietnamese literature, leading to the birth of poetry of Tang rules. Referring to Vietnamese poetry of Tang rules, we must mention Nguyen Khuyen - "the poet of Vietnamese landscape villages". His poetry makes readers feel drunk in the simplicity but still retains its shimmering, magical, and unusually charming features, showing a profound reception of the influence of Chinese Tang poetry, especially from the poet Du Fu. Comparing Du Fu's poetry and Nguyen Khuyen's poetry clarifies the reception of foreign cultural and literary quintessence and affirms the role and position of compositions imbued with Vietnamese national cultural identity is always a research direction with scientific and practical significance.

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Ang, Claudine. "Writing Landscapes into Civilization: Ming Loyalist Ambitions on the Mekong Delta". T’oung Pao 104, n.º 5-6 (12 de dezembro de 2018): 626–71. http://dx.doi.org/10.1163/15685322-10456p06.

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AbstractAfter the collapse of the Ming dynasty, a group of Ming loyalists settled in Hà Tiên (located on the Vietnamese side of the modern border between Cambodia and Vietnam) on the Mekong delta. On those frontier lands, they built a settlement around a port that maintained close connections with Guangdong and Fujian. This article examines an eighteenth-century literary project that took as its focus ten scenic sites in Hà Tiên. The poems were distributed via the coastal trading network to poets in Vietnam and the Chinese mainland, who composed matching poems and returned them with the next sailing season. These poetic compositions functioned as a medium through which the originator of the project rendered his domain civilized by giving pattern (wen 文) to Hà Tiên’s natural environment. Moreover, he encoded in them messages that urged dispersed Ming loyalists to make Hà Tiên their new capital. Close study of the ten original poems uncovers the motivations of a second-generation Ming loyalist, who composed landscape poetry to create a new home outside the Chinese mainland.

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Quán, Thường, Ian Campbell e Tony Chu. "Two Poems by Nguyễn Tiên Hoàng, Writing in Vietnamese as Thường Quán, With English Translations by Ian Campbell and Tony Chu". PORTAL Journal of Multidisciplinary International Studies 15, n.º 1-2 (4 de julho de 2018): 121–24. http://dx.doi.org/10.5130/pjmis.v15i1-2.5845.

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The poems ‘Ngoài Giấc Ngủ’ and ‘Hiện Ra’ were included in the book poetry collection—also titled Ngoài Giấc Ngủ—published in California, USA, in 1990 and featuring sixty-seven poems by Melbourne-based Nguyễn Tiên Hoàng, writing under the pen name, Thường Quán. In 1994 the Journal of Vietnamese Studies (Melbourne) published the poem ‘Ngoài Giấc Ngủ,’ together with a first English language version co-translation, titled ‘Beyond,’ by Ian Campbell and Tony Chu. An adaptation of the poem was sung in Vietnamese ngâm style by Thu Huong Huynh, as part of ‘A Spring Evening of Poetry, Translated Verse and Music’ held in 1995 in Sydney to mark 50 years of post-war migration to Australia. The English language version later appeared in 1996, with the original poem in Vietnamese, in a Sydney-based Vietnamese language newspaper, and in 2002 the English language translation appeared again in Sunlines: An Anthology of Poetry to Celebrate Australia’s Harmony in Diversity, edited by Anne Fairbairn (Canberra: Dept. of Immigration and Multicultural and Indigenous Affairs, 2002). Most recently the English language co-translation of the poem has appeared in Nguyễn Tiên Hoàng’s collection, Captive and Temporal, published by Vagabond Press (Sydney and Tokyo, 2017). The poem, ‘Ngoài Giấc Ngủ,’ now appears in its Vietnamese language original form (1990), and in an English language co-translation by Chu and Campbell which varies slightly from all previous translations. An English language version of the poem, ‘Hiện Ra,, has never been previously published and appears now in a co-translation as ‘Becoming Visible,’ together with the 1990 poem in its original Vietnamese language version.

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Do, Thi Cam Van. "Inter-genres in contemporary Vietnamese historical novels". Ministry of Science and Technology, Vietnam 63, n.º 4 (30 de abril de 2021): 56–59. http://dx.doi.org/10.31276/vjst.63(4).56-59.

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In the development process and social movements, the literary genres do not exist independently but have interaction with each other. Novels are capable of performing genres interaction because “the novel allows to put into it many different genres, including artistic genres (short stories, lyric poems, epics, speech plays...) and non-artistic genres (literature in daily life, rhetoric, science, religion...)”[1]. Novels with traditional writing style about contemporary Vietnamese history (prominent writers such as Nguyen Xuan Khanh, Vo Thi Hao, Nguyen Mong Giac...), the interaction among literary genres is considered as the most common form. Typical forms of genre interaction in novels with historical themes are the interaction between short stories and novels, poetry and novels... Genre interaction expresses the writer’s sense of creativity and experience in the innovation requirement of literary life practice.

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Dinh, Thuy N., e Van Kieu Thi Le. "Vietnamese cultural conceptualizations of bụng (belly) and lòng (abdomen)". International Journal of Language and Culture 3, n.º 2 (31 de dezembro de 2016): 161–88. http://dx.doi.org/10.1075/ijolc.3.2.02din.

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This paper employs the analytical tools of Cultural Linguistics to investigate the Vietnamese cultural conceptualizations of bụng (belly) and lòng (abdomen), both of which are considered to be the location of thoughts and feelings. Based on our corpus of Vietnamese idioms and proverbs, The Tale of Kieu, and several selected modern poems, we found that, while they share many cultural conceptualizations in common, lòng is used more in figurative contexts than bụng. bụng and lòng are the seat and container of thoughts and emotions. lòng is viewed as a vast sea, vast cloth, piece of land/soil, stone, and a changeable living entity. lòng, besides having size and quality, is believed to metaphorically have weight and color. An ethnographic survey reveals the Vietnamese sociocultural historical context, ethnomedicine, and philosophical beliefs that motivate the centralization on the abdominal area to metaphorically host people’s thoughts and emotions. Our investigation again reveals that language is a “memory bank” (Sharifian 2011, p. 5), this time for cultural conceptualizations that have prevailed at different stages in Vietnamese history.

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Knorozova, Ekaterina Yu. "The image of the crane in vietnamese traditional culture". Russian Journal of Vietnamese Studies 7, n.º 2 S (16 de junho de 2023): 136–45. http://dx.doi.org/10.54631/vs.2023.72-474680.

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The image of the crane (stork) is associated with the most ancient ideas, has spread among different peoples. This is one of the symbols of Vietnamese culture, the sacred bird Lak, whose images are present on the bronze drums, resembles a crane. In Vietnam, there are still sculptures in temples depicting a turtle with a Lac bird on its shell. The image of the crane was used by Buddhism. A lonely crane in Confucianism is a hint of a major dignitary dissatisfied with his fate, perhaps retired and therefore inclined to Taoism. Cranes (especially white ones) are considered to be the birds on which the Taoist immortals fly. Nguyen Trai's poems mention the yellow crane.

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Nguyên, Dình-Hoà, e Huýnh Sanh Thông. "An Anthology of Vietnamese Poems: From the Eleventh through the Twentieth Centuries". World Literature Today 71, n.º 2 (1997): 466. http://dx.doi.org/10.2307/40153267.

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Mỹ, Nguyễn Thị Thẩm. "NHÂN VẬT NGUYỄN DU TỪ THƠ ĐẾN TIỂU THUYẾT". Dalat University Journal of Science 11, n.º 2 (25 de abril de 2021): 190. http://dx.doi.org/10.37569/dalatuniversity.11.2.805(2021).

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On the basis of learning and analyzing Chinese poems by Nguyen Du and the novel about this great poet by Nguyen The Quang, the author of this article ventures to clarify the similarities and differences of the character Nguyen Du between poetry and the aforementioned novel. Such differences can shed light on the innovations, creativity, and contributions of Nguyen The Quang in the process of establishing the historical character of Nguyen Du and the dynamics of modern Vietnamese novels, especially in the subcategory of historical novels.

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Truong, Le Quang. "Vuong Huu Quang and his poems inspired on the ambassador trip to China". Science & Technology Development Journal - Social Sciences & Humanities 4, n.º 4 (6 de dezembro de 2020): First. http://dx.doi.org/10.32508/stdjssh.v4i4.599.

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Vuong Huu Quang 王有光, with courtesy name Dung Hoi用晦 and poetic name Te Trai 濟齋, was a high-ranked mandarin of the Nguyen Dynasty. He was born in Tan Duc Village, Tan Long District, Phien An Town, Gia Dinh Province, Southern Vietnam, into a family of the Ming-Dynasty immigrants who originated from CangZhou County, Fujian Province. Vuong Huu Quang held many important positions in the imperial court across various localities and traveled to China for diplomatic mission twice in the fifth year of Thieu Tri Emperor (1845) and from the seventh year of Thieu Tri (1847) to the first year of Tu Duc Emperor (1848). His name, however, is unfamiliar to Vietnamese modern readers due to his limited written legacy, most of which was lost in history. Researchers have known of only two steles poems he left in China, one engraved on a stele in Wuxi and the other in the Yue Fei Temple. Upon reading the old collection Viet Nam Han van Yen hanh van hien tap thanh 越南漢文燕行文獻集成, I discovered that Vuong Huu Quang and his co-worker Pham Chi Huong enjoyed writing and responding in poetic form during their diplomatic trips to China. This article introduces several more poems of Vuong Huu Quang to expand our understanding of another Southern Vietnamese poet who have been mostly covered by time, and provides a brief analysis on the poetic style that Vuong Huu Quang and Pham Chi Huong applied in portraying historical figures.

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Nguyen Thi Thu, Thuy, e Van Nguyen Thi Hong. "Cultural exchange between Vietnam and Korea in the 16th – 18th centuries". Journal of Science Social Science 67, n.º 3 (julho de 2022): 61–71. http://dx.doi.org/10.18173/2354-1067.2022-0041.

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Despite being geographically separated and obstructed, the historical and cultural trajectories of Vietnam and Korea bear some resemblances. Right from the Middle Ages, the influence of Chinese civilization and the ties of tributary relations with Chinese monarchies made Vietnam and Korea have many historical and cultural similarities. Besides, the contacts between Vietnamese and Joseon envoys in China were an essential opportunity to promote cultural exchange and understanding between the two countries. Studies on cultural exchange between Vietnam and Korea throughout history have attracted interest from many researchers, most of whom focus on studying these countries’ cultural exchange through contacts amongst their envoys in China. This article explores the cultural exchange between Vietnam and Korea through the contacts, meetings, and poems of the Vietnamese and Korean ambassadors in China. Cultural exchange activities are expressed in detail through the exchange of poetry and literature between the ambassadors; exchange about the political regime, history, geography, customs, and habits; introduce of the natural picture of Vietnam and Korea,...

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Tsang, Gabriel F. Y., e Hoang Yen Nguyen. "The Vietnamese Confucian Diplomatic Tradition and the Last Nguyễn Precolonial Envoys’ Textual Communication with Li Hongzhang". Asian Studies 8, n.º 2 (20 de maio de 2020): 213–32. http://dx.doi.org/10.4312/as.2020.8.2.213-232.

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The Vietnamese envoys’ records during their diplomatic journeys to Beijing, especially poems and prose, have attracted increasing academic attention, from both international and local scholars. Some studies have comprehensively examined the Vietnamese envoys’ routes when visiting China, literary works, diplomatic strategies, and Confucian beliefs, such as the Taiwanese scholar Chen Yiyuan’s (陳益源) journal paper, which specifically problematizes the absence of filial expression related to the envoys’ journey in Xiaogan (孝感), Hubei Province. The systematic works of Liam C. Kelley and Peng Qian (彭茜) chiefly delineate the harmonious and normal communication based upon the long-developed cultural congruity between Vietnam and China. Their studies and other relevant research show the sophisticated impact of Chinese Confucianism on the Vietnamese envoys. However, there is so far insufficient investigation into the official representatives’ transformation and violation of Confucian manners and thoughts at specific historical moments. Hence, this paper intends to specify the practices of Confucian discourses in the final negotiation between the states of the Nguyễn and the Qing in 1883, both of which encountered the military threat from France and other Western countries. Our findings suggest that although those last envoys, including Phạm Thận Duật and Nguyễn Thuật, utilised a Sinocentric and Confucian manner to bargain with the Chinese for military aid, overall the Nguyễn adopted a Machiavellian approach instead. This means there was a division between political utility and ritual ethics, and the Vietnamese envoys, as pragmatic politicians, prioritized national security while discussing military aid in terms of Confucian rhetoric and values.

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Tran Thi, Le Thanh. "Lao culture in the novel "Plains of jars" by Trinh Thanh Phong". SCIENTIFIC JOURNAL OF TAN TRAO UNIVERSITY 4, n.º 10 (6 de abril de 2021): 68–73. http://dx.doi.org/10.51453/2354-1431/2018/194.

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Trinh Thanh Phong is one of the typical writers of prose in Tuyen Quang. At the age of sixty five, he has not only contributed much good writing such as novels, poems and stories, for Tuyen Quang literature in particular and Vietnamese literature in general, but also has won awards abroad. “Land at Plains of Jars” is a novel which got Dong Duong Award in the Mekong River Literature Prizes. These were the friendship prizes among Vietnam, Laos and Cambodia awarded in Phnom Penh city in 2008. This paper addresses issues concerning the cachet of Laos culture (especially in friendship between Laos and Vietnam), base on the novel “Plains of Jars”..

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Nguyen Van, Lich. "Unique artistic and poetic art of Huy Thong in period 1932-1945 on the aspect of language topic". Journal of Science Social Science 66, n.º 2 (maio de 2021): 37–43. http://dx.doi.org/10.18173/2354-1067.2021-0023.

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The article points out that Huy Thong’s drama is biased towards historical topics. This is also a popular topic in Vietnamese literature in the early twentieth century due to the special nature of the nation’s fate. And, also in the trendy nature of the era, Huy Thong’s historical drama is often associated with the theme of love- a love bound to history, an example of former personal tragedy and responsibility. In his efforts, he has made a separate contribution to the drama genre in terms of structure and language. Huy thong’s poems are like hymns of endless love and natural lines. About expressing mood rather than historical express in Huy Thong’s drama is minimalistic, just enough toexpress the writer’s mood.

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Damrosch, David. "Scriptworlds Lost and Found". Journal of World Literature 1, n.º 2 (2016): 143–57. http://dx.doi.org/10.1163/24056480-00102002.

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When writing systems spread beyond their language of origin, they bring literacy to formerly oral cultures or intrude on or displace an existing system. The process of learning a new script often entails learning a good deal about the source culture and its literature, sometimes overwriting earlier local traditions, other times creatively stimulating them. This essay looks first at some of the literary consequences of the spread of cuneiform writing in relation to its hieroglyphic and alphabetic rivals in the ancient Near East, and then discusses the advance and later loss of Chinese script in Vietnam and Korea, in the examples of the foundational work of modern Vietnamese literature, Nguyen Du’s The Tale of Kieu, and poems by the modern Korean poet Pak Tujin.

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Ta Thu, Thuy. "Art symbols with the expression of talented thoughts in the Poetry – Sino Vietnammese poems in the medieval literature of Viet Nam". Journal of Science Social Science 65, n.º 8 (agosto de 2020): 86–97. http://dx.doi.org/10.18173/2354-1067.2020-0053.

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Using symbols to express marketing ideas is considered as an important artistic tactic in Vietnamese poetry. Through the use of artistic symbols of the authors, they can be generalized into two basic groups as follows: The symbols show off; Icons show a compassionate attitude. Depending on the purpose of the writer and the level of marketing, symbols are used in different ways. Thereby, reader sees the diversity in the form of expressing the ideal of marketing in poetry - rich and loyal.

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Le Van, Tan. "The thought of serving nation and people through Doan Nguyen Tuan's Chinese poetry". Journal of Science Social Science 65, n.º 8 (agosto de 2020): 68–77. http://dx.doi.org/10.18173/2354-1067.2020-0051.

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Doan Nguyen Tuan, nick name Hai Ong, Hai Yen village, Quynh Coi district (now known as Hai An village, Quynh Nguyen commune, Quynh Phu district), Thai Binh province. He had Huong sewer following the Le Dynasty but did not work as mandarins, with Vu Huy Tan, Phan Huy Ich, Ngo Thi Nham..., he followed Tay Son. By the concept of flexible museum, Doan Nguyen Tuan pursued and persevered the path of religious practice in the disordered social condition. With more than 200 Han poems still left, Doan Nguyen Tuan had the opportunity to show quite clearly the important aspects of the content of the thought of his practice. Thus, it can be affirmed that he is one of the authors of fictional literature in the second half of the eighteenth century in particular, of Vietnamese literature in general. This is the main content we set out and solved in this article.

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Kim, Hee-kyong. "A Comparison on Selected Tao Yuanming Poems of Four Poetry Anthologies in the Ming-Qing Dynasty and Research on the Acceptance of Tao Yuanming Poems in Vietnamese Chinese Literature". Journal of Chinese Language and Literature 137 (31 de dezembro de 2022): 149–66. http://dx.doi.org/10.25021/jcll.2022.12.137.149.

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Dang, Nguyen Hai, e Nguyen Truong Thinh. "Using of Recurrent Neural Network with a Refine Model to Compose Vietnamese Luc-Bat Poems for Human-Robot Verbal Interactions". Journal of Advances in Information Technology 14, n.º 5 (2023): 1143–50. http://dx.doi.org/10.12720/jait.14.5.1143-1150.

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Kim, Hee-kyong. "Acceptance Study on the Analysis of Selected Poems of Wei and Jin Dynasties in 16-18C a Collection of Ancient Poems and Poetry of Wei and Jin Dynasties in Vietnamese Chinese Literature". Journal of Chinese Language and Literature 142 (31 de outubro de 2023): 201–18. http://dx.doi.org/10.25021/jcll.2023.10.142.201.

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Ngo, Ha Ngan, e Maya Khemlani David. "Language Use and Sustainable Development: Opportunities and Challenges for Policy-Makers and Educators in Northeast Vietnamese Areas". International Journal of Language Teaching and Education 2, n.º 2 (31 de julho de 2018): 122–30. http://dx.doi.org/10.22437/ijolte.v2i2.5048.

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Vietnam represents a country with 54 ethnic groups; however, the majority (88%) of the population are of Vietnamese heritage. Some of the other ethnic groups such as Tay, Thai, Muong, Hoa, Khmer, and Nung have a population of around 1 million each, while the Brau, Roman, and Odu consist only of a hundred people each. Living in northern Vietnam, close to the Chinese border (see Figure 1), the Tay people speak a language of the Central Tai language group called Though, T'o, Tai Tho, Ngan, Phen, Thu Lao, or Pa Di. Tay remains one of 10 ethnic languages used by 1 million speakers (Buoi, 2003). The Tày ethnic group has a rich culture of wedding songs, poems, dance, and music and celebrate various festivals. Wet rice cultivation, canal digging and grain threshing on wooden racks are part of the Tày traditions. Their villages situated near the foothills often bear the names of nearby mountains, rivers, or fields. This study discusses the status and role of the Tày language in Northeast Vietnam. It discusses factors, which have affected the habitual use of the Tay language, the connection between language shift and development and provides a model for the sustainability and promotion of minority languages. It remains fundamentally imperative to strengthen and to foster positive attitudes of the community towards the Tày language. Tày’s young people must be enlightened to the reality their Tày non-usage could render their mother tongue defunct, which means their history stands to be lost.

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ÂÂn, Lại Nguyêên, e Alec Holcombe. "The Heart and Mind of the Poet Xuâân Diệu: 1954––1958". Journal of Vietnamese Studies 5, n.º 2 (2010): 1–90. http://dx.doi.org/10.1525/vs.2010.5.2.1.

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During the years 1954––1958, the Vietnamese Workers' Party, in a series of advances and retreats, asserted control over all forms of intellectual and cultural expression in the Democratic Republic of Vietnam. This essay looks at how one of Vietnam's greatest poets, Xuâân Diệu (1916––1985), navigated his way through these turbulent years. When the storm finally abated in the latter half of 1958, some of the regime's most important intellectuals found themselves marooned in far-away labor camps with their reputations in ruins and their careers sunk. Not so with Xuâân Diệu——he had been buffeted about in the rough waters but ultimately was able to sail on with his career intact. He fared well in his personal life, too, since the party leadership allowed him to continue sharing an elegant, state-owned French villa with his sister, Ngôô Xuâân Như, and her husband, Huy Cận——Xuâân Diệu's homosexual partner. How did Xuâân Diệu do it?

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Doan Thi, Hanh. "A study on sexuality of existentialism in some contemporary Vietnamese poetries". Journal of Science Social Science 66, n.º 3 (agosto de 2021): 91–100. http://dx.doi.org/10.18173/2354-1067.2021-0051.

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Attractiveness in the physical beauty in order to clarify the humanity in love is one of great contribution of contemporary Vietnamese poets. According to existentialist ideology, human is born without deciding their own fate. They always feel anxious about the fragmentary loss of human life that makes them always feel lonely. But they also accept their loneliness and rise up to live and affirm their own individuality. And sexuality is one of the key themes of existentialism people to find the meaning of life and overcome the kama of loneliness. The contemporary Vietnamese poetry since 1986 has been greatly influenced the existentialism from the West and has been shared a new look at the theme of "sexuality". The article mentions the remarkable contributions of contemporary Vietnamese poets to the renewal of poetry, give readers a new conception and awareness of the theme of "sexuality" which is prohibited and avoided mention to both in real life and in literature.

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KITLV, Redactie. "Book reviews". Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 165, n.º 1 (2009): 129–89. http://dx.doi.org/10.1163/22134379-90003646.

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Johnny Tjia; A grammar of Mualang: An Ibanic language of West Kalimantan, Indonesia (Alexander Adelaar) Christopher Moseley (ed.); Encyclopedia of the world’s endangered languages (Peter K. Austin) Ian Rae and Morgen Witzel; The Overseas Chinese of South east Asia: History, culture, business (Chin Yee Whah) Ab Massier; The voice of the law in transition: Indonesian jurists and their languages, 1915-2000 (Dwi Noverini Djenar) Henk Schulte Nordholt and Gerry van Klinken (eds); Renegotiating boundaries: Local politics in post-Suharto Indonesia (Maribeth Erb) Nghia M. Vo; The Vietnamese boat people, 1954 and 1975-1992 (Martin Grossheim) O.W. Wolters; Early Southeast Asia: Selected essays [edited by Craig J. Reynolds] (Hans Hägerdal) Michael W. Scott; The severed snake: Matrilineages, making place, and a Melanesian Christianity in Southeast Solomon Islands (Menno Hekker) John H. McGlynn, Oscar Motuloh, Suzanne Charlé, Jeffrey Hadler, Bambang Bujono, Margaret Glade Agusta, and Gedsiri Suhartono; Indonesia in the Soeharto years: Issues, incidents and images (David Henley) Hanneke Hollander; Een man met een speurdersneus: Carel Groenevelt (1899-1973), beroepsverzamelaar voor Tropenmuseum en Wereldmuseum in Nieuw-Guinea (Anna-Karina Hermkens) Balk, G.L., F. van Dijk and D.J. Kortlang (with contributions by F.S. Gaastra, Hendrik E. Niemeijer and P. Koenders); The Archives of the Dutch East India Company (VOC) and the local institutions in Batavia (Jakarta) (Ton Kappelhof) Gusti Asnan; Memikir ulang regionalisme: Sumatera Barat tahun 1950-an (Gerry van Klinken) Lise Lavelle; Amerta Movement of Java 1986-1997: An Asian movement improvisation (Dick van der Meij) Nicole-Claude Mathieu (ed.); Une maison sans fille est une maison morte: La personne et le genre en sociétés matrilinéaires et/ou uxorilocales (Joke van Reenen) Henk Schulte Nordholt; Indonesië na Soeharto: Reformasi en restauratie (Elske Schouten) V.I. Braginsky; … and sails the boat downstream: Malay Sufi poems of the boat (Suryadi) Gilles Gravelle; Meyah: An east Bird’s Head language of Papua, Indonesia (Ian Tupper) Penny Edwards; Cambodge: The cultivation of a nation, 1860-1945 (Un Leang) J. Stephen Lansing; Perfect order: Recognizing complexity in Bali (Carol Warren) Roxana Waterson (ed.); Southeast Asian lives: Personal narratives and historical experience (C.W. Watson) Jean DeBernardi; The way that lives in the heart: Chinese popular religion and spirit mediums in Penang, Malaysia (Robert Wessing) REVIEW ESSAY Environmental and archaeological perspectives on Southeast Asia Peter Boomgaard; Southeast Asia: An environmental history Peter Boomgaard (ed.); A world of water: Rain, rivers and seas in Southeast Asian histories Ian Glover and Peter Bellwood (eds); Southeast Asia: From prehistory to history Avijit Gupta (ed.); The physical geography of Southeast Asia (Eric C. Thompson)

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Sasges, Gerard. "Drunken poets and new women: Consuming tradition and modernity in colonial Vietnam". Journal of Southeast Asian Studies 48, n.º 1 (26 de janeiro de 2017): 6–30. http://dx.doi.org/10.1017/s002246341600045x.

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This article uses the lens of alcohol as a means of exploring the experiences and anxieties of Vietnamese ‘colonial modernity’ and the way it was mutually constituted with ‘colonial tradition’. The production, consumption, and meaning of alcohol in Vietnam were all profoundly altered as the state's contested attempts to control the market for rice liquor interacted with the growing availability of imports like wine, champagne, and cognac. While these new products would become ideal symbols of modernity and markers of distinction, at the same time reinvented traditions surrounding what the French called ‘native’ and the Vietnamese called ‘our’ alcohol would become linked to evolving notions of community and nation.

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Хuyến, Trầnthị. "COMPARATIVE CHARACTERISTICS OF MEANS OF NON-VERBAL COMMUNICATION IN UKRAINIAN AND VIETNAMESE CULTURES (ON THE MATERIAL OF A FILM STORY «POEM ABOUT THE SEA» BY O. P. DOVZHENKO)". Scientific Research Issues of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 2023, n.º 37 (dezembro de 2023): 93–107. http://dx.doi.org/10.24195/2616-5317-2023-37-7.

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The purpose of this article is to identify and compare non-verbal means of communication in Ukrainian and Vietnamese traditions based on the film story «Poem about the Sea» by O. P. Dovzhenko and its translation into Vietnamese. The object of the research is linguistic units indicating non-verbal behavior in Ukrainian and Vietnamese traditions, as presented in this film and its Vietnamese translation. The subject of the research is the general and personal features of perception and the use of gestures, facial expressions, gaze, intona- tions, and other non-verbal means in the process of communication. Compara- tive, semantic, cognitive, linguistic, and cultural analyses, paraverbal analysis, and the descriptive method are applied. As a result, their pragmatic meanings were determined, signs of similarities and differences, features of translation, and correlations based on the level of equivalence in artistic works were identified. A number of equivalent, background, and non-equivalent means in Ukrainian and Vietnamese languages were revealed. Conclusions and prospects of the study. Non-verbal language reflects the national character and each nation can have its own characteristics. In the works of fiction, the translator and the editor tried to convey the non-verbal behavior of the characters in such a way that the equiva- lent situations and units that most adequately convey the behavior of people of another culture in the Vietnamese language prevailed. The linguistic realiza- tion of non-verbal means is described by means of verbal means such as verbs, nouns, adjectives and adverbs, and accompanied by epithets, metaphors, idioms and punctuation marks. Understanding the ethnocultural features of non-verbal language is necessary for an adequate understanding of Ukrainian-Vietnamese communication and for those who work on translations of literary texts from Ukrainian to Vietnamese and vice versa. In today’s world, this field of research is becoming more and more relevant and promising

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Doan Thi, Hanh. "A study on existential loneliness in some contemporary Vietnamese poetries". Journal of Science Social Science 67, n.º 1 (fevereiro de 2022): 48–58. http://dx.doi.org/10.18173/2354-1067.2022-0006.

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Existentialism is quite opposed to most traditional philosophical ideas that do not only discuss the distant myths but also concern about people in real life - loneliness with worries and anxiety, “nausea” in the absurd life. Therefore, as existentialism appealed, it had been criticized as pessimism, sentimentalism and had been ignited the desperately hopeless sense of humans. However, existentialism is increasingly being accepted and considered as one of the new thought trends. Up to now, existentialism has had a certain position in Vietnamese literature, poetry, and real life. In the article, we focus on analyzing the impression of existential loneliness on some typical works of contemporary Vietnamese poets: Nguyen Quang Thieu, Truong Dang Dung, Ma i Van Phan, Duong Kieu Minh, Vi Thuy Linh, Ly Hoang Ly

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Markovina, Irina Yu, Alexey A. Matyushin, Istvan Lenart e Hien Pham. "Perception of Russians and Vietnamese by Russian respondents: an experimental study". Journal of Psycholinguistic, n.º 2 (30 de junho de 2021): 74–85. http://dx.doi.org/10.30982/2077-5911-2021-48-2-74-85.

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The authors view the research presented in the article as the further elaborating on the investigational approaches to ethnic identification and self-identification processes developed by Yu. Sorokin (a series of works under the title of “Ethnic conflictology”). The article describes preliminary results of the experimental study aimed at investigating the Russian-Vietnamese mutual perceptions found in the corresponding languages and cultures. Students of Sechenov University (n=109) took part in the questionnaire-based pilot study providing qualitative data for the reconstruction of ethnic “self-portraits” and “portraits” of Russians and Vietnamese. The study group was regarded homogeneous in terms of their linguistic and cultural background. The comparative analysis of the results obtained showed both common and specific characteristics that comprised characterological “portrait” of the Vietnamese and “self-portrait” developed by the Russian respondents. For instance, kindness turned out to be theonly common characteristics included by the respondents in both “portraits”. The most frequent mentions in the Russian self-identification were patience and courage, while the Vietnamese were described as hard-working and joyful. Specific appearance, national food, and material culture were mentioned to make up for the lack of ideas about the Vietnamese generalized (collective) character traits. The Russian anthroponymic “self-portrait” included the following categories: writers and poets (Russian literature), scientists, political leaders, and cosmonauts. The authors point out that historical figures of Russia were mentioned by the respondents more often than contemporary anthroponyms. Personified “portrait” of the Vietnamese nation was substantially undercharacterized; as the majority of respondents stated lack of knowledge about the Vietnamese culture and provided no names at all.It is believed that this large-scale international research project will provide new data on the Russian-Vietnamese mutual perceptions as a result of the processes of ethnic identification and self-identification. The research aims to develop Yuri Sorokin’s hypothesis that ethnic “portraits” and “self-portraits” demonstrate axiological and cognitive attitudes of their authors and have reduced and attributive nature.

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Legostaeva, Albina S. "The sovereign of the jungles, or the tiger image in folklore of Vietnam". Russian Journal of Vietnamese Studies 6, n.º 1 (15 de janeiro de 2022): 5–16. http://dx.doi.org/10.54631/vs.2022.61-100487.

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The tiger image has become an integral part of world art and literature. No artists and poets could remain indifferent to its regal appearance and gracious movements, deceptive calmness and sudden transformation into a vicious predator; and they devoted their works to this animal. Using rare matters connected with superstitions and folklore of Vietnam, the author observes the relations of the tiger and the human and determines its place in spiritual life and oral tradition of the Vietnamese.

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Dinh Thi, Huong. "The relationship between poem Chunjiang huayue ye by Zhangruoxu and Vietnamese poetry". Journal of Science Social Science 64, n.º 5 (maio de 2019): 75–82. http://dx.doi.org/10.18173/2354-1067.2019-0027.

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Le, Tam Thi Thanh. "KIM SO-WOL AND NGUYEN BINH KINDRED SOULS OF THE SAME SORROW". Science and Technology Development Journal 13, n.º 1 (30 de março de 2010): 13–25. http://dx.doi.org/10.32508/stdj.v13i1.2100.

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Kim So-wol and Nguyen Binh are poets living and writing in special ages of North Korean and Vietnamese literature: the first steps of literature modernization process which was full of success. They are strangely alike in poetry talent, in melancholy, and in the death by the beginning of spring. Their very sad life together with their poetry genius is witness for the marvellous meeting of the two oriental poets. Their background tendency is firm dependence on tradition, and imitation of beautiful melody from national folk-songs to inspire the writing. They resemble each other in the way they create passionate modern folk-songs of the same consonance and upright hearts, desperate wrench of painful love, and sorrowful songs of the road. Through their masterpieces with deep prints in readers’ minds, Kim So-wol and Nguyen Binh nurture poetry veins toward tradition and assert the value of that style in the face of changes of history and literature.

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Nguyễn Thị Lan Anh. "TẬP THƠ “BÓNG CHỮ” CỦA LÊ ĐẠT - NHỮNG TÌM TÒI, ĐỔI MỚI VỀ NGÔN NGỮ". Tạp chí Khoa học Ngoại ngữ, n.º 60 (7 de fevereiro de 2021): 10. http://dx.doi.org/10.56844/tckhnn.60.72.

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Lê Đạt là một trong số những nhà thơ có đóng góp lớn cho sự đổi mới thơ ca đương đại Việt Nam, đặc biệt là trên phương diện ngôn ngữ. Ông nhấn mạnh rằng mỗi nhà thơ phải là một “phu chữ”, luôn miệt mài sáng tạo với những con chữ, bởi theo ông “chữ bầu lên nhà thơ”. Làm thơ, đối với Lê Đạt, là “làm chữ”, và “làm chữ” là cách hữu hiệu nhất để làm mới nghĩa, làm phong phú thêm cho lớp từ vựng tiếng Việt và để khẳng định phong cách, cá tính sáng tạo của mình. Tập thơ “Bóng chữ” của Lê Đạt cho thấy thái độ khước từ hình thức ngôn ngữ thơ ca truyền thống và ý thức mạnh mẽ trong việc sáng tạo một kiểu ngôn ngữ mới.Le Dat is one of the poets who have made great contributions to the innovation of contemporary Vietnamese poetry, especially in terms of the Vietnamese language. He emphasized that each poet must be a “phu chu”, the word used by the poet to define whoever devotes his life to word-making, because he believed that “a poet is honored for his words”. Poetry writing, for Le Dat, is an experiment with words or a word game which is the most effective way of making new meanings, enriching the Vietnamese vocabulary and expressing his style and creativity. In his poetry collection - “Shadow of Words”, he rejectedthe form of the traditional poetic language and showed the strong and acute sense of creating a new language form.

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DING, Xinmei. "Re-understanding of the Nature of Chinese Vulgar Characters and Related Problems——Taking Vietnam’s “Giới Hiên Collected Poems” as an example". Journal of Chinese Character 32 (30 de abril de 2022): 177–90. http://dx.doi.org/10.14772/cscck.2022.32.177.

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Hoang, Mai. "Trần Dần: Selected Poetry Translations". Columbia Journal of Asia 1, n.º 1 (26 de abril de 2022): 15–33. http://dx.doi.org/10.52214/cja.v1i1.9383.

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After Trần Dần criticized the poetry collection of Tỗ Hữu, a politician—calling his magnum opus a manual collection of propaganda and leadership—Tỗ Hữu assembled 150 poets and party intellectuals to criticize the poet, declaring Trần Dần and likeminded writers guilty of petty bourgeoisie. In February 1956, Trần Dần was purged from the party and sent to the infamous Hanoi Prison. Though he was released after an attempted suicide, Trần Dần was suspended from the Union of Arts and Literature for the next thirty years. In other words, for most of the poet's life, his works never saw the light of day. In August 2018, I was sitting in a cafe in Saigon sipping coffee when a novel caught my eyes: Crossroads and Lampposts it read—after a few lines I was mesmerized. I had seldom seen Vietnamese used in such a creative thought-provoking and frankly rule-breaking way. I searched up the author’s name and incredulously realized that instead of an emerging avant-garde writer, I was looking at the wikipedia entry for a 20th century radical who produced the draft fifty years before it was published. What followed was an obsessive pursuit of the elusive author's only poetry collection that led me from bookstore to bookstore across town without success. I afterwards realized that I could not find any copies because it had gone out of print long ago. Though the state had officially given Trần Dần pardon, their relationship with his poetry is still a precarious one. Fortunately, I was able to contact an Australian expatriate in Hanoi, the translator of Crossroads and Lampposts who had an electronic copy of the poetry collection that he shared with me.

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Van, Quang P. "Six Vietnamese Poets. Edited by Nguyen Ba Chung and Kevin Bowen. Willimantic, Conn.: Curbstone Press in cooperation with the William Joiner Center for the Study of War and Social Consequences, 2002. xix, 254 pp. $15.95 (paper)." Journal of Asian Studies 62, n.º 4 (novembro de 2003): 1320–21. http://dx.doi.org/10.2307/3591835.

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Pham, Andrea. "Poetry Translation from a Tonal Language (Vietnamese) to a Non-Tonal Language (English)". Delos: A Journal of Translation and World Literature 35, n.º 2 (30 de dezembro de 2020). http://dx.doi.org/10.5744/delos.2020.2003.

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In this essay, as a bilingual speaker as well as a poet and linguist, I will share some issues involved in the translation of a bilingual collection of poems by Andrea Hoa Pham and Lola Haskins, published by Danang Publishing House. The collection includes twenty Vietnamese poems originally written in Vietnamese by Pham, and twenty written in English by Haskins; each original poem is accompanied by a translated version. In the process, I translated Haskins’s poems into Vietnamese. For my original Vietnamese poems, I translated them into English, and Haskins adapted the English versions as an American poet and native speaker of English. Over several meetings, we discussed the deep meanings behind the text, line by line, written by the other, although without discussing the sound of the languages or reading them aloud to each other.

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Hien, Pham Thi Thu, e Ha Thanh Hang. "Connected and Integrated Questions in Teaching Reading Vietnamese Poems in the Medieval Period for High School Students". VNU Journal of Science: Education Research, 10 de junho de 2020. http://dx.doi.org/10.25073/2588-1159/vnuer.4391.

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Vietnamese poems in the Medieval period have been taught in high schools for a long time. However, many students find difficult to read/receive these works because they have been around for a long time and have unique characteristics. At the same time, the teacher's reading comprehension method also does not help students to link the reading content from the text to their current life. The paper proposes a way to overcome the aforementioned limitation, which is to build and use connected and integrated questions in teaching reading comprehension of Vietnamese poems in the Medieval period for high school students, in order to connect activities teaching and learning these works with real life and develop some general competencies as well as specific competencies for learners.

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Trung, Nguyen Van. "THE THOUGHT OF "INNER SAGE, OUTER KING" IN LE THANH TONG'S POEM PHONG NIEN IN VIETNAMESE MEDIEVAL LITERATURE". European Journal of Literary Studies 5, n.º 1 (2 de fevereiro de 2024). http://dx.doi.org/10.46827/ejls.v5i1.492.

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Confucianism was introduced to Vietnam very early and its influence on Vietnamese society is relatively comprehensive. In Confucian philosophy, “inner sage, outer king” are considered an important ideological core, and are also the highest goal of self-cultivation for each Confucian scholar. Le Thanh Tong was a king who promoted Confucianism. He brought Confucianism to a unique position in Vietnamese feudal society during the Quang Thuan and Hong Duc periods. When absorbing the influence of Confucian ideology, Le Thanh Tong also thoroughly understood the content of "inner sage, outer king", thereby reflecting it through his compositions. Quynh Uyen Cuu Ca is known as a collection of poems including 9 excellent Chinese poems by Le Thanh Tong, and is also a very valuable poetic heritage of the author. In it, each poem expresses his views on the times, literature, and art. The thought of “inner sage, outer king” is expressed quite clearly by the author in this collection of poems. Although it does not cover all 9 poems, every time it is mentioned, the author emphasizes and boldly depicts it. The first poem and also typical for this thought is the poem Phong Nien. Article visualizations:<img src="/-counters-/soc/0014/a.php" alt="Hit counter" />

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Christopher Pham. "Refractions". University of Colorado Honors Journal, 30 de abril de 2024. http://dx.doi.org/10.33011/cuhj20242887.

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A collection of poems and illustrations, this text expresses and reconciles with the identity and intergenerational trauma of being Vietnamese American. It traces both the physical and affective forms of violence that are created by war, displacement, and oppression. In doing so, this text intends to reflect on American racial politics through an illustrative memoir.

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"Cultural exchanges and Zen Buddhism in Sino poetries of Vietnamese envoys to China from the late 18th to early 19th century". Journal of Thu Dau Mot University, 15 de setembro de 2023, 343–61. http://dx.doi.org/10.37550//tdmu.ejs/2023.03.462.

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In this report, we present the cultural relationship between Vietnam and China through poems of Vietnamese envoy written on the topic of Buddhist and zenon their journeys of diplomatic missions at the end of the 18th century and the beginning of the 19th century in three main aspects: The description of Buddhist sites and spaces; The envoys’ expression of their personal emotions; and the expression of close relationships with the Zen masters, and the courtiers of the Host country. From there, we hope to contribute a more perspective on the Vietnamese people's mentality - the same mentality, in the cultural exchange between Vietnam and China.

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"An Anthology of Vietnamese poems: from the eleventh through the twentieth centuries". Choice Reviews Online 34, n.º 05 (1 de janeiro de 1997): 34–2595. http://dx.doi.org/10.5860/choice.34-2595.

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"The Emergence of Humans and the Origin of Vietnamese Ethnic Groups from Vietnamese Myths". Tạp chí Khoa học Xã hội và Nhân văn (VNU Journal of Social Sciences and Humanities) 6, n.º 2 (28 de maio de 2020): 222–34. http://dx.doi.org/10.33100/jossh6.2.nguyenthitutrinh.

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The origin of humans has been at the center of attention throughout most of the history of humanity and remained debatable. Humankind is more interested in tracing back his ancestors than ever. The theory of evolution by natural selection, first formulated in Darwin’s book “On the Origin of Species” in 1859, shows that most species are descended from common ancestors. However, most countries and ethnic groups have their own explanation and interpretation of the origin of humans from the dawn of the civilization in their myths. Particularly, many myths and legends about the beginnings of humans have cropped up and varied across religions, races, ethnics, nations and reflect their daily and spiritual life as well as their beliefs. This paper is devoted to exploring 24 Vietnamese myths concerning the emergence of humans and Vietnamese ethnic groups from the earliest time within a motif-based approach. The study reveals that most collected Vietnamese myths of human emergence are utterly imaginative, artistic and creative with a wide variety of motifs. They bear, however, some similarities in the plot and motif such as: (i) creation of Vietnamese people from eggs, gourds and clay; (ii) natural disasters like floods and droughts and (iii) consanguineous marriage and animal marriage. Last but not least, mythical narration and epic poems play a crucial role in Vietnamese literature, history, religions, beliefs and culture. The author does not aim at comparing origin myths of Vietnam and other countries in this paper but generally introduce the reader to these myths. Received 18th September 2019; Revised 19th February 2020; Accepted 20th March 2020

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Hoa, Phan Van, e Ho Trinh Quynh Thu. "POETIC METAPHORS OF LOVE IN ENGLISH AND VIETNAMESE". VNU Journal of Foreign Studies 33, n.º 6 (1 de dezembro de 2017). http://dx.doi.org/10.25073/2525-2445/vnufs.4208.

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The conceptual metaphor theory states that poetic metaphors are in fact conventional metaphors but they are made novel via four techniques - elaboration, extending, questioning, and combination. Based on this sense, our paper focuses on examining and comparing poetic metaphors of romantic love in English to those in Vietnamese. Contrastive analysis is the main method applied in the study with the data for investigation coming from English and Vietnamese love poems. Also, the metaphor identifcation procedures by Pragglejaz Group and its extension are employed to minimize the risk of impulsiveness in metaphor collection process. Our fndings reveal that the novelty of love metaphors in poetry does not lie in concepts but in linguistic expressions thanks to the four above techniques, among which combination is employed much more than the others in both languages. Furthermore, both conceptual and linguistic metaphors of love are found to be similar between English and Vietnamese poetry, which is supposed to result from the universality of metaphor. However, variations of cultures, lifestyles, and thought bring about some differences of love metaphors between these two languages.

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Pradittatsanee, Darin. "Interreligious dialogue for the earth: Ecological spirituality in the poetry of Mary Oliver and Thich Nhat Hanh". Humanities, Arts and Social Sciences Studies, 30 de janeiro de 2024. http://dx.doi.org/10.69598/hasss.24.1.265228.

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This paper examines the poetry of two contemporary writers from divergent religious backgrounds: American poet Mary Oliver (1935–2019) and Vietnamese Zen monk Thich Nhat Hanh (1926–2022). Taking a comparative approach to examine the writers’ ecological spirituality, it attempts to examine how Oliver and Nhat Hanh envision self, nature, God, and spirituality in Devotions: The Selected Poems of Mary Oliver (2017) and Call Me by My True Names: The Collected Poems of Thich Nhat Hanh (1999) respectively. It demonstrates striking affinities of the two poets’ visions, arguing that they are kindred spirits despite their different religious backgrounds. It examines how each writer’s perception of self and nature is founded upon their religious ideas and how their spirituality is, in turn, enhanced by this ecological vision. While Oliver’s spirituality is based upon her belief in God’s immanence in nature and thus her view of nature as God’s body, the Buddhist notion of interbeing is the bedrock of Nhat Hanh’s perception of self in relation to other things. Both similarly emphasize the significance of contemplative practice in nature as a means to achieve an insight into divinity or interbeing. Furthermore, this paper shows how the reading of the two writers in juxtaposition with each other invites an interreligious dialogue of the Buddhist and Christian poets. It employs its comparative analysis of the two writers as a case study to reflect upon possibilities for a fruitful interfaith dialogue in our attempt to nurture our spiritual lives and foster our bonds with nature.

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Huyen Trang, Le Thi. "TRANSLATING NOM POETRY INTO CHINESE: EXPERIENCE AND DISCUSSION". VNU Journal of Foreign Studies 35, n.º 5 (13 de novembro de 2019). http://dx.doi.org/10.25073/2525-2445/vnufs.4428.

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Translating poetry is an interesting but challenging task. In addition to fully conveying the meaning of the original version, it is also necessary to describe the poem rhyme as well as retain the metre in the target language. Within the scope of this article, the author attempts to translate some Nom poems in the treasure of Vietnamese Nom poetry into Chinese. The translating process shows that the multi-faceted similarities between the two languages, the inheritance and development of the characteristics of Chinese Tang poetry in Nom poetry allow the translator to use the method of phonemic translation, literal translation and rhymed translation. In addition, the author gives personal perspectives on translation, as well as suggests the features which should be kept in the translation process.

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