Among the Vietnamese customs of early 20th century, besides the documentation written in Sino, there were also not a small number of documentation written in Nôm. To use Nôm script was with a clear purpose for “the ease of the people’s reading and understanding”. Nevertheless, there was a fact that in these documentation written by Nôm, Sinowas also appeared quite a lot. Sino script was used in many levels: word, Phrase, Sentence,Paragraph. Why Sino still appeared in Nôm documentation, while the editors themselves wanted to use Nôm for the readers’ easy understanding, and furthermore in the history context of Vietnamese society, it was the period of Sino declining? In addition to the too great impact of Sino language in Vietnamese language, were there any other reasons for that? Through the studying, the writer has found that the 4 said above levels were not used randomly, instead each level was used in one or some specified cases. The use of Sino in here was formed by 2 reasons: Habit; The fact that Sino was still psychologically more respected than Nôm, this was not erased in the conception of the editors.

Chinese characters are materials of Chinese poems in Vietnam, including three main factors: configuration, sound, and meaning. Among those factors, generally configuration and meaning were borrowed from the Chinese while the Sino-Vietnamese sound has been developed since the linguistic acculturation of Vietnamese to Chinese language. Chinese configuration with cultural insides shown in non-numerical configuration has contributed hidden values to the works. Ideograph characteristic of this writing system generates emblems with deep cultural dimension. Analyzing Chinese character configuration is to get more understanding on the meaning of the word and to understand different hidden meanings of the word. The expressions shown on character configuration become a tightly connected system, increasing expressional value for the work and creating artistic messages. Sino-Vietnamese sound of the Chinese works in Vietnam still preserves the characteristics of similarity, prosody, and rules of ancient poetry. Comparing Sino-Vietnamese sound and Vernacular Chinese sound, we will see that, in many cases, Sino-Vietnamese sound (related to audio-track) preserves the characteristics of similarity, prosody, and rules of ancient poetry but the Vernacular Chinese sound may not. Rules on tone bring up beautiful poetry feelings of an era with distinct features. In understanding the meaning of non-numerical scripts, we care about the synonyms with slightly different meanings, which create specific values for poetry works. Chinese words with the same radical can be connected as far as their meanings go, transferring values that readers can discover based on those connections. Multiple meaning words directly contribute to the multi layers of the different layer of meaning in literature works. In general, readers need to be aware of configuration, sound, and meaning of Chinese characters in order to understand the values of Chinese poems in Vietnam.

Chinese characters in Vietnam have a long history, more than one thousand years. This paper with three main parts is aimed at doing a research overview of Vietnam’s Chinese characters over the years. In the first part, the birth and the usage of Chinese characters will be presented through the analysis of formation circumstances as well as the historical position of the characters in Vietnam. In the second part, the paper will introduce the social, cultural and educational background, the unearthed literature and handed-down literature, and anonymous literature as well as the arrangement and the research of the characters over each period in the history. In the last part, the achievements and the failures of researches on Vietnam’s Chinese characters by far will be pointed out as the foundation of future researches, which are to improve the status of Chinese characters socially.

Taboo character is typical phenomenon of Chinese characters system, it is considered as the effective key in decrypting the date of Han-Nom texts inscirption texts. Such key is maintained clearly on the ancient books add steles of Vietnam, specially Taboo characters system in the insription texts of Tran Dynasty (1225-1400). Based on research results, we have found a new form of Taboo character previously published in studies in Vietnam Taboo characters. Such new characters forms have helped us easily discover in cription texts at the date of Tran dynasty in Ninh Binh. This is the useful and reliable source for researching of Vietnam Taboo characters in particular and ancient books of Vietnam in general.

This research bases on primary sources written in Sinograph and Nôm (vernacular Vietnamese script) by scholars in premodern Vietnam, to make a pedagogical analysis on the role of the Sanzijing (三字經) in Literary Sinitic education in premodern Vietnam. Thus, this paper claims, the study of the civil service examination in premodern Vietnam should be covered from its starting point, the primary level, to fill the gap of a partial concern by modern scholars of the high level.

베트남은 한자문화권의 한 국가로, 이미 오래 전부터 한문화의 깊은 영향을 받 았다. 베트탐의 외교와 행정 교류, 과거, 시문의 창작 등 생활의 각 방면에서 베트 남인들은 한자와 한문의 생활을 하였다. 특히 베트남인들은 여전히 한자와 한-쯔 놈의 서적을 국내외의 여러 도서관과 장서관에 보존하고 있다. 한-쯔놈 서목의 통 계와 한-쯔놈 이중 언어 사전을 편집하는 과정 속에서 베트남에서 오랜 동안 시 행되었던 한자교육의 역사를 살펴볼 수 있다.

Korean families were separated in the wake of division of Korea into north and south. Separated families became refugees, defecting from North Korea. Therefore, it can be said that all of the North Korean refugees, who have currently settled down in South Korea, fall under the category of separated families. Under these circumstances, group experience and homesickness of North Korean refugees have been the driving force of their artistic creation, which has been reflected in their works. It was found that the North Korean refugee painters had felt homesick. Young-rim Choi also is North Korean refugee painter. He described the utopia that he had dreamed of in his works as they put emphasis on pain from loss of hometown and nostalgia for childhood. He also reflected his hometown indirectly in his works. His works have the common features such as landscape that is similar to that of his hometown, influence by tumulus murals, which can be assumed based on iconic and expressive technique. It is right to say that the common features express objects of ideology that is intrinsic to painter’s mind, rather than simple landscape or person. This is because his paintings connote painter’s longing, memory, dream, and hard feelings of deep sorrow simultaneously. As the painter look for images that are similar to those of his hometown due to physical absence of homeland, such images mean that consciousness of internal diaspora of Korea among North Korean refugee painter is expressed in the passive way. This study was meaningful in that the works and achievements by Young-rim Choi were examined in the perspective of internal diaspora of Korea, even though he has never been investigated until recently, with a view to getting an in-depth understanding of his works and positioning the painter on the historical map.

The paper is the research on variants in the block-printed literature written in Chinese character during the Chinese domination, related the recognition and definition of variants, the analysis of character variants, i v vi g h g s i th st k s, mp ts, wh h t s’ dditi d subtraction, summarizes the variation characteristics and explores the character relationship between Vietnam and China. the statistics of the number of characters and their variants in order to seek the character variants frequency in the block-printed literature written in Chinese character during the Chinese domination in Vietnam history.

This article briefly describes the background of the origin of Dr. monument, conducting a preliminary study on the content of the Dr. monument and its characters, and explores the history and culture of Vietnam and Chinese characters’ development in Vietnam.