Japan’s ODA and the economic development of Vietnam

『Expanding ASEAN and the Future of Japan : A variety of angles for analysis』, 資料編6-1-1～6-3-10ASEAN & Japan Academic Exchange Program 2013based on comprehensive exchange agreements between KWANSEI GAKUIN UNIVERSITY and Universities in member countries of ASEA

PROMOTING THE CULTURAL STRENGTH IN CONSTRUCTION AND PROTECTION OF THE COUNTRY – THE VALUABLE PRACTICE FROM THE 1943 OUTLINE OF VIETNAMESE CULTURE

Culture plays an important role in the socio-economic development and sustainable development of the country. It is the spiritual foundation of society, the goal and the driving force of development. The article researches and clarifies the values of the 1943 Outline of Vietnamese Culture, the role of culture in the construction and defense of the country. From there, the article offers solutions to promote the strength of culture in the construction and development of the country in the current period.  Article visualizations

TEACHER BELIEFS AND PRACTICES OF SCAFFOLDING STUDENTS’ READING COMPREHENSION THROUGH QUESTIONING AT PRE-READING STAGE

Research into scaffolding has indicated its roles in assisting students in completing their English language learning tasks, including reading. This paper reports a descriptive study that explores teachers’ beliefs and their practices of the questioning strategy to scaffold students’ reading comprehension in lower secondary schools in a Mekong delta region. Data collected in this study include questionnaires, classroom observations, and semi-structured interviews. Participants were sixty-four teachers of English as a foreign language. The findings reported in this paper provide insightful views into how teachers used questions to scaffold student learning of reading comprehension. Pedagogical implications are also presented.  Article visualizations

THE EFFECTS OF USING VIDEOS IN ENGLISH SPEAKING LESSONS ON HIGH SCHOOL STUDENTS' SPEAKING PERFORMANCE, KIEN GIANG PROVINCE, VIETNAM

Students' speaking abilities are widely thought to play an important role in speaking classes and high school English teachers endeavor to improve their students' speaking performance. The purpose of the current study was to examine whether incorporating videos before and after speaking sessions had a substantial impact on students’ speaking development. The participants were 78 high school students in Kien Giang province. The study used a quasi-experimental mixed-methods design. The participants were organized into two groups: the control group and the experimental group. Both groups underwent a pre-test to check group homogeneity and for later comparison. The students in the experimental group participated in the speaking class where video integration was introduced at the beginning and end of each lesson whereas the students in the control group attended regular speaking classes. The intervention lasted for twelve weeks. A posttest was then given to students of the two groups to check progress in speaking performance. Furthermore, the attitudes of the students in the experimental group were measured using Likert-style questionnaires and semi-structured interviews. Data collected from the pre-test, post-test, and questionnaire were subjected to analysis via SPSS. The findings of the study indicate that the application of videos in speaking classes significantly influenced students' speaking performance. Additionally, students show positive attitudes towards using videos in their speaking classes.  Article visualizations

Beam division multiple access for millimeter wave massive MIMO: Hybrid zero-forcing beamforming with user selection

Massive multiple-input multiple-output (MIMO) systems are considered a promising solution to minimize multiuser interference (MUI) based on simple precoding techniques with a massive antenna array at a base station (BS). This paper presents a novel approach of beam division multiple access (BDMA) which BS transmit signals to multiusers at the same time via different beams based on hybrid beamforming and user-beam schedule. With the selection of users whose steering vectors are orthogonal to each other, interference between users is significantly improved. While, the efficiency spectrum of proposed scheme reaches to the performance of fully digital solutions, the multiuser interference is considerably reduced

연군시가의 관점으로

학위논문 (석사) -- 서울대학교 대학원 : 인문대학 국어국문학과, 2021. 2. 조해숙.The objective of this paper is to compare Jeong Cheol’s (鄭澈) Jeonhu Miingok (前後美人曲), (which is the term for both Samiingok (思美人曲) and Sokmiingok (續美人曲) ), and Nguyen Gia Thieu’s (阮嘉韶) Cung Oan Ngam Khuc (宮怨吟曲) and to also deepen the understanding of both national languages and literature developed in South Korea and Vietnam, which are within the range of an universal language. First, Chapter II introduces the lives of Jeong Cheol and Nguyen Gia Thieu along with background stories behind their creation of work. To understand Cung Oan Ngam Khuc, which is particularly unfamiliar, it describes the formation and development process of Vietnamese folk literature, Chu Nom, and the long poem genre, Ngam Khuc (吟曲). Ngam Khuc which is one of Vietnam’s medieval literature genres, is in the Song that luc bat format (7·7·6·8 format), and is a long Chu Nom poem which is lyrical and sings of endless sorrow and pain. Samiingok and Sokmiingok are the pieces that Jeong Cheol wrote in the 16th century when he left his position in the government and moved to the countryside. They speak upon about missing their lover during the process of leaving their government position. Cung Oan Ngam Khuc is the Ngam Khuc piece written by Nguyen Gia Thieu in the 18th century, and is presumed to have been written when the author left the government position or was politically isolated. Jeonhu Miingok and Cung Oan Ngam Khuc all share similarities as both male authors speak in the voices of the female speakers abandoned by their lovers and all belong to the genre of the unique long poems written in the national languages. Chapter III reviews the differences between the works by analyzing their compositions and sentiments of the poetic speakers. Jeonhu Miingok are repeated (連續體) tetrameter pieces and follow a continuous structure. While Samiingok maintains such structure through the flow of the four seasons, Sokmiingok does so through a dialogue from an imaginary character. Within the works, spaces are represented vertically with the heavens where the love one resides, and the earthly world where the speakers are. Time is shown as a cycle of the four seasons and is travels from the past to the present. The cyclic and repetitive flow of time symbolizes the eternal love for their lover. As the speakers were born with absolute love for the lover, they solely blame themselves for the parting. Their love never changes after the passing of the four seasons and ultimately face their death. The speakers possess a desperate and one-sided hope that they would eventually overcome their parting through death and enjoy the happiness of reuniting once again with their love. Cung Oan Ngam Khuc is in the Song that luc bat format (7·7·6·8 format) and four lines form a paragraph. There is no limit to the length of the work, but it usually ends with a group of four lines. As the characteristic of this genre, the speaker summarizes a personal story, makes a small conclusion in each paragraph, and brings certain parts of the previous paragraph’s contents into the next paragraph. Due to this sporadic (斷續的) structure, Cung Oan Ngam Khuc is created in a way that the author continuously moans as if she carries great sadness and longing for another. As the speaker has been independent from their lover since the age of birth, she does not show absolute love like the speaker of Jeonhu Miingok. She misses her lover when she thinks of the time she spent with him; however, she blames him when she returns to the miserable, lonely present. By repeatedly crossing from the past and present and the happiness from the past and sorrow in the present, the sense of disconnection between the speaker and the lover becomes more powerful. Chapter IV derives the meanings of the works based on results of a comparative analysis. Jeong Cheol and Nguyen Gia Thieu are noblemen from the medieval era who could have the ability to create Chinese poetry and writings skillfully. However, to sing for their lovers, they wrote the long poems in their national languages rather than in Chinese. Through the national-language literature including Korean propositions in Samiingok, honorifics and normal words in Sokmiingok, and proverbs, folk songs, and colloquial styles in Cung Oan Ngam Khuc, the authors were able to include the unique beauty and characteristics of each country’s language and express their situations and emotions. While Jeonhu Miingok and Cung Oan Ngam Khuc shares similarities that they are both Yeongun Siga (戀君 詩歌) in which they long for their kings, aspects of this Yeongun (戀君) spirit are shown differently through the works. Jeonhu Miingok, written during the Joseon Dynasty when the kingship was solidified through Confucian ideologies, clearly demonstrates the relationship between the sovereign and subject and continuously sings of absolute love for the lover. No matter how the lover’s attitude changes, the speaker’s love does not change and continues the same. On the other hand, Cung Oan Ngam Khuc, written during the time when Confucianism and Buddhism coexisted, includes Buddhist ideologies as well as the Yeongun (戀君) spirit. In Vietnam during the time when Cung Oan Ngam Khuc was created, there were many works actively reflecting the awareness of women. Female figures emerged often in the works, and many female authors appeared as well to faithfully sing their feelings and desires in the passages. Due to the differences, Jeonhu Miingok’s speakers are ‘subordinate’ beings who miss their lover regardless of the lovers’ attitudes and behaviors, and show a loyal spirit based on the sovereign and subject relationship. However, Cung Oan Ngam Khuc’s speaker is an independent woman who changes as per the lover’s attitudes and long for love; therefore, it is based on more of the romantic relationship. In this paper, Cung Oan Ngam Khuc is newly observed from the perspective of Yeongun Siga (戀君詩歌) through the comparison with Jeonhu Miingok. It is also possible to confirm the meaning of the Yeongun (戀君) spirit shown in Jeonhu Miingok through the comparison with Cung Oan Ngam Khuc. The attempt to compare and contrast Jeonhu Miingok and Cung Oan Ngam Khuc from the view of Yeongun Siga (戀君詩歌) helps understanding East Asian literature comprehensively. It is significant to show how the “middle parts,” South Korea and Vietnam, based on China as the ‘center,’ have built the relationship and accomplished their literary achievements.본고는 정철(鄭澈)의 전후미인곡인 , 과 완가소(阮嘉韶)의 을 비교하여 보편문어의 자장 안에 있는 한국과 베트남에서 독자적으로 발전한 민족어문학에 대한 이해를 심화하는 데에 목적을 둔다. 먼저, Ⅱ장에서 정철과 완가소의 생애와 작품 창작의 배경을 살펴보았다. 특히 낯선 을 이해하기 위해 베트남 민족어 문학인 쯔놈 문학과 장편시인 음곡(吟曲) 장르의 형성과 전개 과정을 설명했다. 음곡은 베트남 중세 문학 장르 중 하나이며 쌍칠육팔체(7·7·6·8체) 형식으로 끝없는 슬픔과 아픔을 노래하는 서정적인 쯔놈 장편 시이다. 과 은 16세기에 정철이 벼슬에서 물러나 낙향했을 때 지은 가사 작품으로, 조정과의 분리 과정에서 임을 그리워하는 내용을 담고 있다. 은 18세기에 완가소가 창작한 음곡 작품이며, 벼슬에서 물러났을 때나 정치적으로 소외를 당할 때 지었을 것으로 추정된다. 전후미인곡과 은 모두 남성 작가가 임에게 버림을 받은 여성 화자의 목소리로 노래하였다는 점, 민족어로 된 고유한 장편 시가 장르에 속한다는 점에서 공통점을 지닌다. Ⅲ장에서는 작품들의 구성방식과 시적 화자의 정서를 분석함으로써 작품 간의 차이점을 살펴보았다. 전후미인곡은 4음보 연속체(連續體)의 가사 작품으로, 은 사계절의 흐름을 통해 은 가상 인물의 대화를 통해 시상을 이어나가는 연속적인 구성을 취하고 있다. 작품 내에서 공간은 임이 계시는 천상과 화자가 있는 하계가 수직적으로 형상화된다. 시간은 사계절의 순환과 과거에서 현재까지 이어지는 시간이 나타나는데, 순환되고 반복적인 시간의 흐름은 임에 대한 영원한 사랑을 상징한다. 화자는 태어날 때부터 임에 대한 절대적 사랑을 지녔기 때문에 이별의 원인을 모두 자신의 잘못으로 돌린다. 사계절이 지나도, 죽을 때까지도 임을 연모하는 마음이 절대 변하지 않는다. 화자는 죽어서라도 임과의 단절을 극복하여 다시 합일하는 재회의 기쁨을 누리리라는 처절하고 일방적인 희망을 품고 있다. 은 쌍칠육팔체(7·7·6·8체)로 4행이 한 단락을 이루며 길이에 제한은 없으나 4행의 한 묶음으로 끝난다. 이러한 장르의 특징으로 단락마다 자기 사연을 정리하여 소결론을 내리고 앞 단락의 일부를 가져와서 다음 단락에서 계속 이야기하는 방식으로 내용이 이어진다. 이러한 단속적(斷續的) 구성으로 인해 은 슬픔과 그리움의 정서를 겹겹이 쌓는 듯 끊임없이 하소연하는 방식으로 이루어진다. 화자는 태어날 때부터 임과 독립된 존재였기 때문에 전후미인곡의 화자처럼 절대적 사랑을 보이지는 않는다. 임과 함께 행복하게 보낸 세월을 생각할 때는 임을 그리워하면서도 비참하고 고독한 현재로 돌아오면 임을 원망한다. 과거와 현재를 반복적으로 교차하여 과거의 행복과 현재의 슬픔을 대비함으로써 화자와 임과의 단절감을 더 선명하게 표현하였다. Ⅳ장에서는 작품을 비교 고찰한 결과를 바탕으로 그 의미를 도출하였다. 정철과 완가소는 한시와 한문을 능숙하게 지을 수 있는 중세의 사대부들이다. 그럼에도 불구하고 연군을 노래하기 위하여 한시가 아니라 민족어로 된 장편 시가를 창작하였다. 에 나타난 한국어 조사, 에 나타난 경어·평어, 에 나타난 속담·민요·구어체 등 민족어 문학을 통해 각 나라 언어의 고유한 아름다움과 특징을 담으면서 자신의 처지와 감정을 간절히 표현할 수 있었다. 전후미인곡과 은 임금을 그리워하는 연군시가라는 공통점이 있지만, 작품을 통해 드러난 연군의식의 면모가 다르다. 유교 이념으로 왕권을 공고히 했던 조선시대에 창작된 전후미인곡은 군신주의를 확실하게 보여주며 임에 대한 절대적 사랑을 끊임없이 노래하고 있다. 임의 태도가 어떻게 변하더라도 그 마음이 변하지 않고 한결같은 마음을 유지한다. 유교와 불교가 공존했던 시기에 창작된 은 연군의식뿐만 아니라 불교 사상을 곳곳에 삽입하고 있다. 이 창작된 시기에 베트남에서는 여성의식을 적극적으로 반영한 작품이 많이 창작되었다. 작품에 여성 형상이 많이 나타날 뿐만 아니라 여성 작가도 많이 등장하여 자기의 감정과 갈구를 충실히 노래하였다. 이러한 차이 때문에 전후미인곡의 화자는 종속적인 존재로서 임의 태도와 상관없이 임을 그리워하고 군신관계의 충성된 마음을 보여준다. 반면에 의 화자는 주체적 여성으로서 임의 태도에 따라 변화하여 사랑을 갈구하므로 남녀관계에 더 가깝다. 본고에서는 전후미인곡과의 비교를 통해 을 연군시가의 관점에서 새롭게 조명하였다. 과의 비교를 통해 전후미인곡에 나타난 연군의식의 의미도 확인할 수 있었다. 연군시가의 관점으로 전후미인곡과 을 비교하는 시도는 동아시아 문학을 폭넓게 이해하는 데 도움이 된다. 동아시아에서 ‘중심부’인 중국을 기준으로 ‘중간부’인 한국과 베트남은 어떻게 관계를 맺으면서 각각 서로의 풍성한 문학적 결실을 이루어갔는지를 보여준다는 점에서 의의가 있다.국문초록 ⅰ Ⅰ. 서론 1 Ⅱ. 비교를 위한 예비적 고찰 7 1. 전후미인곡과 의 창작 배경 7 2. 베트남 쯔놈 문학과 음곡(吟曲) 장르의 특징 12 Ⅲ. 전후미인곡과 의 시상 전개와 정서적 특징 21 1. 시적 구성과 표현 방식 21 1) 전후미인곡: 연속적(連續的) 구성과 시․공간의 형상화 21 2) : 단속적(斷續的) 구성과 과거 회상 33 2. 임에 대한 태도와 자기 인식 63 1) 절대적 임에 대한 사랑과 주체적 화자의 원망 63 2) 관계 회복의 가능성과 불가능성 72 Ⅳ. 연군시가의 장르 선택과 비교 고찰의 의미 79 Ⅴ. 결론 88 참고문헌 90 부록 95 Abstract 125Maste