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Hàn Mặc Tử's early poems—praised by Phan Bội Châu—are famous for their purity of diction and form, and show him to be a fluent Classicist with a strong interest in realistic subjects. Subsequently, his poetry showed the influence of French Symbolism , and after he fell sick, became increasingly violent and despondent.
Ưu Đàm Hoa's background remains a mystery that the wuxia fans have always wanted to uncover. He made his literary debut in the end of 1990s, but not until 2010 did some of the readers close to the publishing expose his real name as Phạm Công Lánh (范公另), who resides in 11th district of Saigon.
The Tale of Phạm Tử Hư Visiting Heaven is the tenth story of Nguyễn Dữ's Truyền kỳ mạn lục collection, [1] published in the second volume. [2] Phạm Tử Hư is a man in Cẩm Giàng. Originally prideful and uninhibited, Tử Hư is reformed by his teacher Dương Trạm into a better person.
Tam thiên tự (chữ Hán: 三千字; literally 'three thousand characters') is a Vietnamese text that was used in the past to teach young children Chinese characters and chữ Nôm.
The legend of Mai An Tiêm was the eight tale told in Lĩnh Nam chích quái, [1] a semi-fictional collection written in the fourteenth century, under the title Tây Qua Truyện (chữ Hán: 西瓜傳; literally 'The Tale of the Western Fruit').
"Tiến Quân Ca" (lit. "The Song of the Marching Troops") is the national anthem of Vietnam.The march was written and composed by Văn Cao in 1944, and was adopted as the national anthem of the Democratic Republic of Vietnam in 1946 (as per the 1946 constitution) and subsequently the Socialist Republic of Vietnam in 1976 following the reunification of Vietnam.
Đờn ca tài tử (Chữ Hán: 彈 歌 才子) or nhạc tài tử (樂才子) is a genre of chamber music in the traditional music of southern Vietnam. Its instrumentation resembles that of the ca Huế style; additionally, modified versions of the European instruments guitar, violin, and steel guitar are used.
Đặng Thân is a bilingual poet, fiction writer, essayist and critic, based in Vietnam.There he is regarded "the typical figure of Post-Doi Moi Literature", [1] and considered "the best humourist ever" and even an "awesomely brilliant genius". [1]