Mam vang Cuu Long is a representative performance choreographed and composed by Thai Ly, based on folk ritual dances of the Southern Vietnam. This study examines the transformation process from the Dâng mâm (Tray Offering) dance in the Bóng rỗi performance - a ritual typical of the Southern Vietnamese community - to a professional dance language. The research clarifies the origins of the cultural exchange between the Viet - Cham peoples in the Tray Offering dance, while analyzing changes in content, meaning, and artistic qualities as this dance was transformed into a professional stage performance. By systematizing and restructuring core movements from ritual practice into professional dance language, Mam vang Cuu Long has laid the foundation for the current educational curriculum of the Southern Vietnamese tray dance, and exemplifies the harmonious integration of cultural heritage preservation with contemporary artistic innovation. This transformation process does not completely erase the original meanings and functions of the folk ritual but situates them in a dynamic relationship with the present.

By applying a combination of adaptation theory and specialized scholarly research methods, this article investigates the modes of adaptation by which the vernacular verse narrative Lục Vân Tiên has been transformed into cải lương scripts. The study focuses on three primary aspects: language, characterization, and plot structure. Its central aim is to elucidate the rules and principles underlying the adaptation process in the selected texts, while exploring the convergence between premodern literature and contemporary performing arts. In doing so, the study highlights the enduring existence and the adaptive capacity of national literature within the modern context, contributing to a more nuanced and multidimensional understanding of literature and the arts among readers and researchers alike.

Artistic language is one of the core elements that create the value and uniqueness of Ẳm ệt - a masterpiece of Thai folk literature in Vietnam. Through creativity and sensitivity, the folk author skillfully employed language to vividly portray the universe and all beings in the primordial era of the Thai people, bringing liveliness and appeal to the epic. Studying the artistic language in Ẳm ệt not only clarifies its thematic values but also uncover the cultural and artistic depth unique to the Thai ethnic group. This research contributes to the preservation, protection, and promotion of national cultural values in the modern context.

  In both communication and literature, the form of address holds an important position, expressing the speaker's cultural identity as well as regional characteristics. In the context of Vietnamese literature during the transitional period, Ho Bieu Chanh (1885-1958) was a distinguished writer renowned for using the national language combined with the Southern dialect to create literary works. This article focuses on examining the value of address forms in several novels by Hồ Biểu Chánh, aiming to elucidate their impact on the formation of communicative culture and the unique cultural traits of Southern Vietnam, as well as the interplay between regional vernaculars and the national language. These themes are expressed through the shaping of intimate relationships, unacquainted relationships, the phenomenon of phonetic merging, and the ways of expressing attitudes in communication. Through this exploration, the article contributes to highlighting the unique features of regional everyday language in its relationship with the national/common language.

This article investigates the figure of the prostitute in Vietnamese realist literature from 1932 to 1945 through three notable works: Lam di (Vu Trong Phung), Doi mua gio (Nhat Linh - Khai Hung), and Bi vo (Nguyen Hong). Drawing on the theoretical framework of literary sociology, particularly the concept of “social institution”, the study interprets the alienation of female characters not merely as personal tragedy but as the result of patriarchal norms and institutionalized oppression. Through two lines of inquiry - social deviance shaped by moral institutions and individual resistance to these institutions - the article argues that these prostitutes are not merely victims but conscious agents negotiating between individual agency and societal expectations. This study contributes to reevaluating the critical function of realist literature and broadens the conceptual understanding of alienation in the intersection of gender, morality, and power

The concept of role-play is typically employed either as a pedagogical method, a secondary aspect of metafiction theory, or as a scattered term appearing sporadically in the works of various scholars. Inheriting, developing, and systematizing prior theoretical approaches to role-play, this article aims to explore Nang tho tang by Dinh Phuong through the lens of narratological role theory. From this perspective, the paper clarifies key characteristics of role-play, including role-play as a process of self-awareness, role-play as a transformation into another, and role-play as a form of choice and coercion.  The utilization and systematization of this role-play concept in reading the work Nang tho tang is expected to propose and develop a new narratological term: the role-play narrator (as character) while simultaneously offering fresh interpretive insights into the creative works of author Dinh Phuong.

  This article examines Southern urban poetry from 1965 to 1975 within the discourse of contemporary literary criticism, aiming to clarify the co-creative role of critics in the reception and valorization of this poetic movement. Grounded in three main theoretical pillars - reception theory, critical discourse analysis, and existentialism - the study analyzes representative critical texts by authors such as Bùi Giáng, Uyên Thao, Tạ Tỵ, Nguyễn Đình Tuyến, and Trần Nhựt Tân. It highlights how these critics approached poetry as a dynamic cultural phenomenon imbued with existential sensibility and ontological reflection. The findings reveal that Southern literary criticism before 1975 not only evaluated aesthetic value but also shaped reception and engaged in creative dialogue with poetry. As such, the study affirms the status of Southern urban poetry (1965-1975) as a distinctive artistic phenomenon within modern Vietnamese literature.

W.G. Sebald (1944 - 2001) is widely regarded as one of the most prominent writers in world literature of the late 20th century. His works have been received with broad and enthusiastic acclaim in numerous countries over several decades. In Vietnam specifically, Sebald's work truly commenced in 2019 with the translation and publication of Die Ausgewanderten (The Emigrants) under the Vietnamese title Ky uc lac loai. Aiming to delineate the trajectory of Sebald's works reaching the Vietnamese readership, the article employed historical and comparative methodologies to examine their reception by the public through translation, publication research, and criticism. The reality of this reception in Vietnam indicates that the works of this German writer have not yet garnered attention commensurate with their stature, therefore, further initiatives are needed to ensure Sebald receives wider recognition.

TThe article belongs to the field of cultural memory and literary studies, focusing on the traumatic experience of the German perpetrator community after World War II and the Holocaust. The study explores the notion collective guilt as a form of cultural trauma and examines how postwar German literature has contributed to expressing, negotiating, and healing this traumatic memory. Based on trauma theory combined with discursive analysis with an examination of German literature after 1945, the article explores the repression of guilt discourse on the pain of the Germans and the subsequent revival of this traumatic memory, when descendant generations confront family memories. The research thereby contributes to expanding trauma theory to perpetrator communities and affirms the role of literature in constructing cultural memory and promoting the process of "struggle of overcoming the past " (Vergangenheitsbewältigung) in post-trauma societies.