This paper examines Chinese’s culture influence in Sinosphere from the “hard power” and “soft power” systems. As a result, it reveals a resilience and independence of Vietnamese, Korean, and Japanese literature. Ancient – Medieval East Asian literature, therefore, was always united in diversity.

Nowadays, a trend of globalization is getting more exciting, leading to a rapid change of modern society. This easily leads to a negative trend when studying classical literature, often seen as “confusing”, “boring”, “ancient”, “not useful after graduation”. Against this background, this article examines many Japanese literature textbooks from elementary to high school within the last ten years that are commonly used to find out about Haiku poetry compiled in the textbook and how haiku education making more practical in face of such challenges.

Based on Bakhtin’s stance of “speech genres”, Tyupa’s view on “communication strantegies” and “literature’s “source” narrative discourse”, the article argues and concludes that works of prose fiction can be built based on the hybridization of several source narrative discourses, according to the rule of genres interaction.

In Preface of Kim Van Kieu Thanh Tam Tai Tu 金雲翹青心才子– a Vietnamese translation of the novel The Tale of Jin Yun Qiao (金雲翹傳Kim Van Kieu Truyen) – published in 1971 by The Department of Culture, Saigon, the translator To Nam Nguyen Dinh Diem suggested that the novel Kim Van Kieu Truyen was not wrote by a Chinese writer but could be made by a Vietnamese Confucian scholar based on Nguyen Du’s story as Doan truong tan thanh (A New Cry from a Broken Heart – the official title of The Tale of Kieu). This suggestion seems to have been proved incorrect by many textual studies inside and outside Vietnam. However, the topic has been revived recently. Some new obtained documents from Japan being introduced in my recent articles prove that The Tale of Jin Yun Qiao came into The Tale of Kieu previously. To strengthen my opinion on the topic, this article provides a literature review of the eighteenth and nineteenth century Sino-Nom documents which many Vietnamese Confucian scholars mentioned that The Tale of Kieu had been wrote based on The Tale of Jin Yun Qiao.

Nguyen Binh Khiem is not only a Confucianist but also a sincere Buddhist, a Zen teacher more or less practiced and knowledgeable about Zen Buddhism. This article will expose the sense of Zen Buddhism which expressed in his poetry.

Zen has deeply imprinted on the process of forming and developing Vietnamese literature, especially in the literature of the Ly - Tran dynasty. Entering the stage of modern literature, although this influence is no longer profound, Zen is still present in the literary life. Mong Ngan Son by Quach Tan is one of the poems representing the spread of Zen in modern literature.

As a country belonging to Asian culture, Vietnamese’s attitude to LGBT (lesbian, gay, bisexual and transgender) used to be inclined with many prejudices and stigma, people considered LGBT persons as gender problem, thus making LGBT’s community to be alienated and offended. LGBT, from being a taboo topic in art and literature, has recently began to be touched upon, at first in a timid way, and then more and more vehement and straight forward with many famous writer such as Bui Anh Tan, Tran Thuy Mai, Vu Dinh Giang, Nguyen Dinh Tu, Thuy Anna, Nguyen Ngoc Thach, etc. in which Bui Anh Tan is one of the most typical writers. His novels such as Non female world, Les - non male embrace, etc. about LGBT’s life, love and their struggle against social prejudices have become a phenomenon that draws the public attention, especially in LGBT’s community, particularly some of them as best sellers. In this article, we apply the Queer Theory and meaning of queer reading/ queer criticism to describe changes in people attitude and perception of LGBT inVietnamese society nowadays via two above works of Bui Anh Tan. Our desire is to help people have better awareness and more humanistic perspective of LGBT.

This paper is a result of folklore fieldworks study in Vinh Long Province conducted by Faculty of Literature’s lecturers and students, University of Social Sciences and Humanities, Vietnam National University Ho Chi Minh City, in two times (2013 and 2014, 2 weeks for each). The number of collected raw material is 2.750, and the number of informants is 1.976. After revising, classifying and editing, texts of genres such as riddles, proverbs, wonder tales, legends, ghost tales, jokes, fables, and folk poetry (“ca dao” and “ve”) are retained. This paper focus on showing the characteristics of quantity and quality of works in each genres. Moreover, we put our proposition for in-time collecting and publishing projects for this valuable cultural material from all regions of Southern of Vietnam.

Daily life is not only expressed as the reflected subject, but also becomes poetic creative poetic thinking feature in proses of two female writers Da Ngan (Vietnam) and Thiet Ngung (China). Most female writers routinely delve into everyday life at the level of detail, meticulousness and minutiae; exploiting this area of reality repeatedly, at the same time, revealing women’s feminist consciousness and their resistance toward patriarchy system. The contribution of female writers in this respect is a careful reflection on the reality of women's everyday life which has been affected barely in traditional literary (especially in works of male writers a literary tradition of male). Therefore, female writers add her own reality to the blank of the creation. In addition, they reveal their distinct perspectives which derived from their gender characteristics and construct a female perspective on everyday life, more broadly, on cultural, social, political institutions. Writing about daily life has shifted women's everyday reality from the periphery to the central position of reflected reality in literature, at the same time, creating the role the female subjects in this daily - reality.

An overview of research on divine characters in Vietnam and three Asian countries: China, Japan, and Korea which are considered as the same culture, is an important work in the study of culture and literature. From a specific meaning, this issue gives us an overview of divine characters system in Vietnam legend as well as China, Korea and Japan; The problem will lead us to broader inferences, analyzes and assessments about characteristics and cultural contexts of each country, the conceptions of each nation about the spiritual world, customs and habits, lifestyle, creative thinking and their rich imagination. In conclusion, it can be seen that God always play an important role in legends, spiritual and cultural life, and in Vietnamese mind particularly and most of the Eastern of Asian countries (China, Japan, Korea) from ancient to present.

Tran Quang Nghiep is an exceptionally excellent writer in the national language literature of Southern Vietnam. In literary context of the early twentieth century, Tran Quang Nghiep’s work is an expression of movement and development to a modern level through acquisiting of achievements from the nineteenth century French short stories. The acquisition and creativity of Tran Quang Nghiep's stories are expressed through a process of adapting Maupassant’s short stories following the ideological and moral nationalization trend based on a spiritual basis, way to resolve conflicts and human behavior of Southern people, localization in terms of space and time, and characters closely Southern context. His stories retain content and idea but sometimes change a character and some details to mitigate facts. This selective acquisition asserted his talent and pioneer writer in early period influenced by Western culture.

From East to West, for many generations, literary theory studies often focus on basic issues: authors, works and readers. It is the common points that connect Eastern literary concepts and Western ones, ancient and modern despite the differences and contrasts. By comparing Liu Xie's thought of literary reception in “The Literary Mind and the Carving of Dragons” (Wén Xīn Diāo Lóng) with some of the main points of reader-response criticism, in this article, we will prove an interesting similarity, and since then highlight the role and progressive in Liu Xie’s work.

Chilean author, Roberto Bolaño (1953-2003), was the most representative writer of the Latin American Post-Boom movement. He had achieved strong success and widely known not only among the Spanish readers but also the global English readership. After Bolaño was well received in many European countries and the United States in 1990s and 2000s, he continued the tradition of Gabriel Garcia Márquez in representing and analysing outstanding themes of Latin America in its relations with other regions. In his works, Bolaño frequently explored the portrait of contemporary literary life in facing with military dictatorship and violent crime through the character of writers, critics and literary scholars. He aslo expressed his personal concerns about role of artists and creative inspiration in the cultural and potical upheavals in Chile and other countries in Americas and Europe. In this article, we concentrate in studying the above topics in two typical novels of Bolaño: By night in Chile and 2666.

In literature, magic is closely related to Magical Realism, particularly in One Hundred Years of Solitude, the 1982 Literature Nobel Prize of Marquez. Being used to received from the political and cultural perspective, One Hundred Years of Solitude is now discovered in a new way of ritual legendary criticism with two magical principles of similarity and contiguity on some levels such as image, structure and concept of life. On this base, this article redefines the roles, relationships, classification systems as well as the composition, basic nature of magic through comparisons made clear and evidenced by One Hundred Years of Solitude. This can be viewed as an attempt to redefine the basic theoretical issues of magic in literary view.

The paper provides a genre description of the argumentative essay in the literary genre system and in the 2018 Vietnamese language and literary educational curriculum, and accordingly introduces a loose translation of the speech “I Have a Dream” by Martin Luther King as part of the text-corpus for genre-based teaching. The paper also suggests a genre-based approach to text reading-comprehension, analysis and teaching.