INTRODUCTION

1. LReasons for choosing the topic

1.1.Poetics is the science of artistic forms. This very starting point contains a very fundamental characteristic of the approach to the subject matter in this discipline. Poetics needs to discover the laws governing the extremely diverse and rich world of artistic phenomena. In ancient and medieval times...PoeticswithFrom the chapterRhytography belongs to the discipline of studying writing rules, which are largely detailed, normative, cumbersome, almost like literary formulas, making people bored. That is why poetics, which has existed for thousands of years, has at times declined and today has been revived with unprecedented vitality.

1.2.Poetics in general, and the poetics of children's literature in particular, is a subject of great interest and research for scholars. The application of poetic theory to the study of specific literary fields has been enthusiastically embraced by researchers and has yielded many achievements. The systematic nature, as a fundamental characteristic with methodological significance, of poetics is rooted in the very object of this science: artistic forms. Poetics' task is to discover these relationships in the form of laws and, in the clearest cases, to form a system. Poetics embodies itself as a science of literary techniques, taking not literature in general as its object of study, but, as Jakobson put it, "literary quality of a literary work"It explains why a linguistic text becomes a work of art. This topic is approached from a poetics perspective, which we believe is a promising direction and has practical scientific significance in the evaluation and creation of art."

1.3.In current teaching practices at many universities, poetics and its application to specific scientific research projects are no longer unfamiliar to faculty, students, and trainees of the Literature Department, as well as related departments and disciplines. Choosing a research topic...Poetics of contemporary Vietnamese children's literatureThis topic is also beneficial for the author, who directly teaches Literature at a high school. It not only helps students understand and explore the beauty of literature more deeply, but also fosters a habit of analyzing the artistic form of literary works, instead of focusing solely on content as before. The topic also guides the analysis of some literary works in schools from a poetics perspective, helping students develop the ability to appreciate and teach literary works in secondary schools.

2. Research Subjects and Scope

2.1. Research Subjects

- The main research subject of this thesis is Poetics and the Poetics of Vietnamese Children's Literature.

- Prose works on children's themes and the poetics of various authors, especially the two writers Nguyen Nhat Anh and Nguyen Ngoc Thuan.

  2.2. Scope of the study

- The studies used for comparison are the works of authors such as Tô Hoài, Trần Hoài Dương, Phùng Quán, Duy Khán, Võ Quảng, Ma Văn Kháng, Vũ Thư Hiên, Dương Thu Hương… prose works about children and the poetics of contemporary Vietnamese children's stories – which are also the two genres with the most successful works, attracting many generations of writers in the development of contemporary literature.

- This dissertation researches, surveys, and applies poetics theory, contemporary children's literature, literary research methods, and studies specific subjects, focusing on the main achievements in two genres: short stories and novels, to clarify the issue.Poetics of short stories written for children contemporaryThis includes the art of character development, storytelling, and plot organization; artistic time and space, language, and narrative tone in contemporary Vietnamese children's prose. In particular, we focus on exploring representative works on the poetics of children's literature by authors Nguyen Nhat Anh and Nguyen Ngoc Thuan.

3. Research objectives and tasks

3.1. Research Objectives

- With the chosen topic, the thesis aims to explore the artistic beauty of children's literature from a poetic perspective, while affirming the power of poetic theory in studying specific literary phenomena. The thesis also provides a systematic view, highlighting the distinctive characteristics of short stories written for children by several contemporary writers within the children's literature of our country in general, and by writers Nguyen Nhat Anh and Nguyen Ngoc Thuan in particular.

- Through studying children's stories by various authors, we also apply the theory of narrative prose poetics to the study of specific literary phenomena.

3.2. Research Objectives

- To outline the overall picture, to generalize the basic categories of poetics for application in the study of narrative prose poetics, to identify the main terms, objects, and research methods of poetics.

- Analyze and explain the historical sensibility and typical creative trends in the poetics of contemporary Vietnamese children's literature by writers in general, and especially by writers Nguyen Nhat Anh and Nguyen Ngoc Thuan in particular.

- Analyze the artistic characteristics of Vietnamese prose literature regarding poetics in several aspects: the art of character development and plot organization, the narrator, and the narrator's point of view in children's stories by Nguyen Nhat Anh and Nguyen Ngoc Thuan.

- This thesis aims to explore the distinctive features of time, artistic space, language, and tone in contemporary Vietnamese children's stories, particularly in the works of Nguyen Nhat Anh and Nguyen Ngoc Thuan.

4. Research Methodology

4.1.In conducting this thesis, we combined the use of several main research methods: - The poetics approach: to clarify the "conceptual form" element of children's literature.

- Socio-historical method: aims to identify the impacts of Vietnam's historical and social context on the formation, development, inheritance, and innovation of children's literature.

- The typological method: aims to identify the genre characteristics, features, and qualities of stories written for children.

- The analytical and synthetic method: used to delve into specific authors, works, particular expressions, and unique aspects, while simultaneously providing a general, systematic overview of the issue being discussed.

4.2.To achieve the scientific objectives of the thesis, the dissertation also employs interdisciplinary research methods (literature and culture, psychology, linguistics), structural methods, comparative methods, statistical methods, and other research techniques.

5. Novel contributions of the thesis

5.1.This dissertation is the first comprehensive and systematic study of the poetics of contemporary Vietnamese children's literature as an independent and complete subject. The dissertation systematically examines the development process, analyzes typical characteristics and prominent issues, providing a comprehensive view of the poetics of Vietnamese children's literature and affirming its indispensable position in the history of Vietnamese literature.

5.2.The research findings of this thesis contribute to affirming the position and making contributions to the field of literary theory and research on children's literature in general, and the poetics of children's stories in Vietnam in particular – a research area that has not yet received sufficient attention and has not yielded many achievements.

By summarizing and evaluating the characteristics and trends of the poetics of children's literature, this dissertation also aims to explore new approaches, building upon existing poetic foundations, for the topic of contemporary Vietnamese children's literature. The dissertation serves as a valuable reference for teachers, students, and anyone interested in or passionate about children's literature. It also offers suggestions to make the topic of contemporary Vietnamese children's literature more accessible to students by incorporating some representative works and excerpts from the high school curriculum, thereby expanding their understanding and stimulating their interest and passion for Vietnamese children's literature.

6. Structure of the thesis

Besides the Introduction, Conclusion, Appendix, and References, the main content of the thesis, including the topic, statistics, and discussion, comprises four chapters:

Chapter 1Overview of the research problem

Chapter 2An overview of contemporary Vietnamese children's literature and stories written for children.

Chapter 3The art of character development and plot organization in contemporary children's literature.

Chapter 4Artistic time and space, language and narrative tone in contemporary Vietnamese children's stories.

Chapter 1

OVERVIEW OF THE RESEARCH PROBLEM

1.1. Overview of research on poetics

In defining poetics and poetics theory, as well as most fundamental categories of literary studies and many disciplines of the humanities, we encounter a common situation: at their current level of development, these sciences are not yet capable of providing "unambiguous" definitions of their research objects. In terms of definition, "the status of poetics theory is not much different from that of the novel." Globally, poetics has a history of research spanning over 2300 years, beginning in ancient times with the work...Poetic artby Aristotle andWenxin Diaolongby Liu Xie. In the early 20th century, Russian formalists revived poetics in a modern spirit. In Europe and America, many movements emerged to study the form of works of art. The concept of poetics was understood not only as a science but also as a critical trend.

1.1.1.Works introducing and translating poetics from abroad.     

Poetics is the oldest branch of literary studies. In ancient Greece, Western poetics studied means of expression, genre, and language. Aristotle's Poetics (Poetika) is the most famous work of contemporary poetics, summarizing the artistic experience of Greece (epic, tragedy, hymn), serving as a handbook on rules of composition, and offering useful advice to those engaged in literary creation. Due to its philosophical content, Aristotle's poetics had a significant influence in Europe throughout antiquity, the Renaissance, and into the 18th and 19th centuries. Authors such as Horace, Psevdo Longinus, Boileau, and Lessing also produced famous works on poetics.

In China, if poetics is understood as the study of literature as an art form, then...Wenxin DiaolongLiu Xie's work is considered the earliest work on poetics, as it teaches people the essence of literary techniques. Researcher Wang Yunxi commented:Wenxin DiaolongIt is "a set of books guiding literary creation, not a type of book on literary theory." The "Poetry Commentary" books explore poetry, and the methods of writing poetry also belong to poetics. Authors such as Yan Yu, Zhu Bi, Jiang Kui, Wei Qingzhi, and Shen Deqian all used the term "poetics" to refer to the methods of writing poetry. Novel critics such as Jin Shengchen, Mao Zonggang, Li Zhuowu, Zhang Zhupha, Zhi Yanzhai, and Ye Zhu delved into analyzing the narrative art of novels, opening up the tradition of novel poetics in China. Indian, Japanese, and Arabic literatures also have unique traditions of poetics.

Poetics is also a kind of "philosophy" about artistic forms:The concepts of form and structure in 20th-century literary criticism.(Rene Wellek, translated by Hoai Anh)Poetics and Linguistics, Modern Western Literary Theory(Translated by Tran Duy Chau)Literary theory, modern issues(Translated by La Nguyen)Theory and Poetics of the Novel(M. Bakhtin – Translated by Pham Vinh Cu)Literary theory(Wellek and Warren, translated by Nguyen Manh Cuong and colleagues)... Most of these works are by Russian-Soviet researchers. Currently, some works on European-American poetics have been introduced in Vietnam.

1.1.2. Works by Vietnamese researchers

In Vietnam, during the first half of the 20th century, there were some discussions about literary art. However, these were mostly critical reviews and book evaluations, not scientific research. In the South during the period 1954-1975, there were some topics related to poetics, such as:Poetics(1958-1960) by Dien Huong,Principles of Poetry Composition(1959) by Vu Van Thanh,New Poetry Rules(1961) by Minh Huy,From modern poetry to free verse(1969) by Bang Giang,A brief survey of literature(1963) by Nguyen Van Trung ... After 1975, the research situation in Poetics calmed down for a while. It was not until after 1986 that Poetics was formed as a science.

Authors, works, and literary periods:Exploring Nguyen Du's style in The Tale of Kieu(Phan Ngoc)Regarding the Poetics of Tang Dynasty Poetry(Nguyen Khac Phi, Tran Dinh Su)The Poetics of L. Tolstoy's Novel(Nguyen Hai Ha)The development of Du Fu's poetic style through different periods of his writing.(Ho Si Hiep)Vietnamese folk tales – History of development and poetics of the genre.(Kieu Thu Hoach)Poetics of folk songs(Nguyen Xuan Kinh)The poetics of To Huu's poetry, The artistic worlds of his poetry.,Poetics of Truyện Kiều(Tran Dinh Su)Poetics in Children's Literature(Edited by Bui Thanh Truyen)Poetics in Vietnam(Nguyen Dang Diep – Nguyen Van Tung), ... Among these, many works have been selected as study materials or reference materials for high school students and teachers. These are purely theoretical works, some of which have paved the way for the widespread development of Poetics in Vietnam. Representative works:How to interpret literature using linguistics.(Phan Ngoc)Poetic language(Nguyen Phan Canh)From Semiotics to Poetics(Hoang Trinh)Modern Poetics(Do Duc Hieu)Poetics Issues in the Story(Nguyen Thai Hoa)Contributing to the understanding of structural methods(Nguyen Van Dan)Structuralism and Literature(Trinh Ba Dinh)Analyzing literary works from a poetic perspective.(Nguyen Thi Du Khanh)Russian Formalist School(Huynh Nhu Phuong) ...

In short, poetics embodies the science of literary techniques. Poetics develops in three main directions: normative poetics, historical poetics, and structural poetics. Based on the achievements of theoretical research and the results of its application to the study and criticism of specific literary phenomena, today we have a new system of poetic perspectives such as: genre poetics, authorial poetics, work poetics, and literary movement poetics... Modern poetics has affirmed its highly effective research direction in the field of narrative prose research. The result is...narratologyIt emerged and developed as a separate, independent scientific discipline alongside traditional poetics.

1.2. Overview of poetics and the poetics of narrative prose

1.2.1. General Concept of Poetics

The emergence of poetics is associated with the name of Aristotle (384–322 BC), whose work, which has been translated into Vietnamese, is...Poetic artInitially, Aristotle used poetics to encompass the task of studying poetic language, as poetry was the first form of early literature. In the 20th century, the landscape of poetics became very diverse in terms of its subject matter and scope of study. While all bearing the guise of "poetics," each researcher defined their own task differently: studying methods of composition, structure of works, artistic forms, linguistic techniques, etc. These conceptions also partly reflect the diversity of research and criticism trends in poetics.

From another perspective, it can be said that, in reality, there are as many different interpretations of the concept of poetics as there are authors researching poetics, and the extent to which they are used in different literary phenomena also varies. This is evident because since its inception, the science of poetics has continuously matured and developed. Furthermore, researchers have explored the concept of poetics to varying degrees, from broad to narrow and shallow, depending on the purpose and content of their research.

1.2.2. The concept of narrative prose poetics

The concept of narrative prose poetics can be understood simply as:Narrative techniques, or systems of methods, narrative techniques, and character development in short stories and novels. theoryWe already know that the essence of literature is to reflect life through imagery; therefore, artistic imagery is the soul of a literary work. Art affirms the beauty of the human soul, thus studying a literary work is studying the spiritual world created by humans – the form of existence of the work of art. Besides the above issues, from a poetics perspective, we can also look at aspects such as plot, narrative details, structure, genre poetics, and language poetics in a more complete way. If we say that the spirit of poetics focuses on four main issues:The artistic conception of humanity, artistic time, artistic space, and the author's image in artistic creation.Of the four most fundamental issues reflected in the artistic creation of each work, two are artistic time and space.

1.3. The current state of research on children's stories and the poetics of contemporary children's stories.

1.3.1. The current state of research on contemporary children's literature.

Children's literature refers to works written about children and for children, created by adults or children, primarily viewed through a child's perspective, with content aimed at educating and nurturing the soul and character of children of all ages. Works written for children include:

1. Works written for preschool children.

2. Works written for children.

3. Works written for young adults.

Based on the above understanding of children's literature, we present some characteristics of this literary genre to compare with adult literature as follows:

The firstChildren's literature must contain some educational meaning aimed at fostering the development of children's personalities.

Secondly, the primary target audience of children's literature is children, whose personalities, psychology, emotions, feelings, and perspectives differ from those of adults. This influences both the content and the artistic methods used in its creation.

TuesdayIn children's literature, the relationship between author and reader is an "unequal" one. Authors, primarily adults, are almost incapable of seeing life like children, while readers, mostly children, possess unique psychological and physiological characteristics that adults, even those who were once children, cannot (or do again). This disparity is also inevitable, as children's literature must still fulfill its primary function of education.

WednesdayChildren's literature remains an inseparable part of literature, even though it is a relatively recent phenomenon in the history of human literature.

1.3.2. The current state of research on the poetics of contemporary Vietnamese children's literature.

Children's literature is not outside the general trend of innovation in Vietnamese literature; however, it still has its own unique characteristics, namely the emphasis on cognitive and educational functions, and the profound humanistic nature of literature for children.

Traditional themes (war, history, revolution) continue to be explored but with new developments: both building on old achievements and introducing new features different from before. Writing about war.A turbulent childhoodby Phung Quan;Where are you now, the one from the old days?By Tran Thien Huong... the writer has perceived and explored all issues in a new, deeper, more realistic, and more comprehensive way; the humanistic meaning of the works has focused on the fates of individuals.

Historical themes flourished during the anti-American war period – a time when our entire nation was at peace."Forty centuries fighting together"In To Huu's works, the tradition of fighting invaders and defending the country is particularly emphasized. Literature, connected to the inspiration of the era, also portrays heroic figures who defended the country, outstanding historical figures, including children. It touches upon the evils and tragedies of individuals but still cherishes a deep love and faith in humanity and life.

The lives of city children have been a subject of interest for many authors, depicted in a rich and vivid manner. Two main aspects of this reality can be broadly summarized: firstly, children from affluent families who simply eat, study, and play; secondly, the lives of impoverished children who struggle to balance education with earning a living, sometimes even lacking formal education and forced to wander the streets or struggle to make ends meet. While these children themselves don't create these contrasting lifestyles, they are nonetheless vulnerable to their influence. This is a reality everyone sees, a concern for society as a whole, and even with their best efforts, writers may not fully capture the intricacies of this ever-widening gap.

The innovation in Vietnamese literature, especially prose, has somewhat stimulated and further promoted the innovation of children's stories. Therefore, it can be said that innovation is the inevitable path for children's stories in this period.

Summary:

The development of contemporary children's literature has had its ups and downs, and some themes have not been as prominent as in previous periods. However, overall, it can be affirmed that contemporary children's literature is quite rich and diverse in its exploration of themes and topics, opening up the possibility of encompassing vivid portrayings of children's lives.

The evolution of children's literature from 1986 to the present partly reflects the general trends in this literary genre. Children's stories continue to inherit the traditions of previous periods, exploring themes of children in historical and revolutionary life, and in their relationship with school. From this approach to children, writers have revealed a new perspective, a new conception of children: not viewing them through the imposed intentions of adults, but starting from the children themselves to explore the depth of their souls and personalities.

Chapter 2

OVERVIEW OF CHILDREN'S LITERATURE AND STORIES WRITTEN FOR CHILDREN

CONTEMPORARY VIETNAMESE CHILDREN

2.1. An Overview of Vietnamese Children's Literature

2.1.1.The concept of "Children's Literature"

2.1.1.1. The concept of "Children"

From a legal perspective, in international law, the age of a child is relatively consistently defined as under 18. However, in international conventions such as...League of Nations Declaration on the Rights of the Child(1924)United Nations Declaration on the Rights of the Child(1959)Universal Declaration of Human Rights(1968)International Labour Organization Convention 138(ILO)regarding minimum age for employment(1976)United Nations Convention on the Rights of the Child(1989) ... affirmed that the application of the age of children in each country may differ, depending on the domestic law of each country which stipulates an earlier age of adulthood. However, United Nations and international organizations such as UNICEF, UNFPA, ILO, UNESCO ... all define a child as a person under 18 years of age.

In Vietnam, the legal definition of a child's age was officially mentioned in a legal document after the Standing Committee of the National Assembly issued the Ordinance on the Protection, Care, and Education of Children on November 14, 1979, which stipulated that "Children referred to in this Ordinance include children from birth to 15 years of age" (Article 1). In 1991, the Law on the Protection, Care, and Education of Children was enacted, raising the age of a child to 16 years of age (Article 1). "Children as defined in this Law are Vietnamese citizens under sixteen years of age." This age was further affirmed in Article 1 of the Law on the Protection, Care, and Education of Children issued in 2004. Thus, in specialized legislation, Vietnam recognizes that children under 16 years of age are citizens protected and cared for by law. Children aged 10 to 18 are considered "minors." Although the age limit is lower than that stipulated in the international convention, Vietnam's regulations are still considered appropriate due to the open-ended nature of the convention.

2.1.1.2. Children's Literature

"Children's literatureChildren's literature (also known as "children's literature," but here we will use the term "children's literature") plays a particularly important role not only in the lives of children but also in the national literature. Firstly, the educational nature of works written for children must be clearly and decisively prioritized; secondly, the form must be cheerful, innocent, witty, and rich in imagination; thirdly, literary imagery must be realistic, concrete, vivid, and appropriate to the psychology of children; and fourthly, the language must be clear, simple, and easy to understand. Children's literature is literature that serves young readers; therefore, children must be considered the object of appreciation, not simply the object of description, although writing about children for children is always considered the most appropriate method.

Children's literature has two main sets of values:The group of values ​​has human and educational significance.In the first group of values, children's literature is valuable in stimulating children's interest in reading; stimulating narrative ability as a thinking process; stimulating the ability to imagine, examine, and explore nature, people, and even experiences in novel ways, arousing children's curiosity and desire to explore; providing children with indirect, universal experiences and thereby influencing their behavior. The second group of values ​​is educational. Literature is important for children both before and after school. Many studies have proven that the greatest value of children's literature is helping them learn to read and write. Through literary works, children not only accumulate a rich vocabulary and understand the meaning of words in literature, but also develop fluency in reading as well as acquire knowledge and understanding through the works. It could be about communication, the way people treat each other, the joys or sorrows of human life, although it may not necessarily be exactly as reflected in works written for adults.

2.1.2. The Formation and Development Process of Vietnamese Children's Literature

2.1.2.1. The period before the August 1945 Revolution

Vietnamese children's literature truly took shape and developed as a part of Vietnamese literature after the success of the August Revolution in 1945. It wasn't until the early 20th century, under the feudal colonial regime, and through literary reforms following modernization trends, that children's literature began to receive attention. By the 1930s, children's literature had become abundant. On the public literary scene, two trends emerged: the Self-Reliance Literary Group published various types of books;Roses, Apricot blossoms, Spring flowers, Youth, PropagationHowever, the efforts of the Self-Reliance Literary Group only went so far; the scope of this type of book was limited to the lives of urban children, far removed from the hardships of the working people. Generally, before the August Revolution of 1945, only scattered works written for children appeared in Vietnam, and there wasn't a real movement of writing for children. Nevertheless, these were the first building blocks that laid the foundation for Vietnamese children's literature.

2.1.2.2. The period of resistance against the French 1945 – 1954

After the success of the August Revolution, the Party and the State, especially President Ho Chi Minh, paid close attention to developing literature specifically for children. In December 1946, the newspaper...YoungA special issue was published with the theme: Children Write, Children Draw. Although the children's works are still simple and rudimentary, this is an important milestone in the history of children's literature in our country. The children have been able to participate in creative writing and directly express their thoughts and feelings in the field of literature and art. Alongside this issue...Young Student, and there is also a sheetTeenagers, Youth Volunteers, Young Sproutsand booksKim Dong, Hoa Khang Chien (Flower of Resistance)... these books and magazines have truly become close friends of children, actively contributing to the cultivation of good virtues and noble feelings in children, and becoming a valuable initial asset for children's literature.

In 1948, the Vietnam Association of Literature and Arts was established, organizing a children's literature section headed by writer Tô Hoài and Hồ Trúc – Secretary of the Central Committee of the Youth Union. (Publishing house)Arts and CultureHe attempted to print a series of books specifically for children, titled "The Book."Kim DongThe purpose of the book.Kim DongThis is an attempt to fulfill President Ho Chi Minh's words: "To make children know how to love their country, care for their compatriots, cherish labor, maintain discipline, know hygiene, and learn culture... learning should be fun, and fun should also be learning." To achieve this goal, Kim Dong books combined three aspects: literature, education, and politics. The books were written according to the guidelines for children's literature of the Vietnam Association of Literature and Arts, closely following the operational principles of schools and young readers. This marked the beginning of Vietnamese children's literature. It demonstrated that literature written for children has a solid foundation and conditions for future development.

2.1.2.3. The period of socialist construction in the North and resistance against the US in the South (1955-1964)

After the resistance war against French colonialism ended, the US imperialists aided their reactionary henchmen, intervening in South Vietnam to permanently divide our country. Therefore, the South had to undertake a national democratic revolution, while the North entered a period of economic recovery, healing the wounds of war, and beginning to build socialism.

A team of writers for children was formed and continuously expanded, resulting in a growing number of works and a wide variety of themes. Besides the highly developed theme of the resistance war, other themes also achieved significant success. It can be said that Vietnamese children's literature developed quite comprehensively and richly during this period. Based on this, in 1961, the Literature Publishing House released...Anthology of poetry and prose for children 1945 – 1960This anthology features a selection of 50 authors. It is the first collection of children's poetry and prose to acknowledge the initial achievements of Vietnamese children's literature.

2.1.2.4. The period of nationwide resistance against the US for national salvation 1965 – 1975

Children's literature flourished during this period, boasting many talented writers and valuable works, truly representing a significant force in celebrating and encouraging exemplary individuals in their studies and struggles. Numerous anthologies emerged, such as...The two hands of a soldier(A curated collection on the theme of the resistance against the French);The rushing water(A collection of short stories and essays on the theme of North Vietnam's resistance against the Americans);Bamboo shoots(Collection of poems by Vo Quang 1971) ...the themes were also expanded and developed in a very rich way.

The strong development of the new type of stories about real people (stories about real people and events) in various forms is a noteworthy event in children's literature during this period. Fairy tales flourished with numerous works.Young Roosterby Hai Ho;Miss B 20Van Bien's work... is full of poetic qualities, both imaginative and realistic. Especially his stories.Miss B 20Through the life of a calf on the Ba Vi farm, Van Bien has depicted the wonderful qualities of the labor hero Ho Giao.

The field of science books has been formed and developed thanks to the contributions of scientists and writers passionate about this subject, such as Viet Linh.Mr. CoalandSquare egg; Vu Kim Dung withThe female scout antThe Dung withGreen carpet on the fields; Hoang Binh Trong withSecrets of a ForestPhan Ngoc Toan withNang Ba Peak...this was the most flourishing period for this subject matter, after which it gradually declined, until it began to be revived in the 2000s.

Children's poetry continues to flourish. Alongside familiar names like Pham Ho, Vo Quang, Vu Ngoc Binh, Thi Ngoc, Quang Huy... there are also Dinh Hai, Xuan Quynh, Ngo Viet Dinh, Tran Nguyen Dao, Thanh Hao with their representative poetry collections such as...Bamboo shoots(Vo Quang);The cow is looking for a friend.(Pham Ho);Husband of buds, husband of flowers(Dinh Hai);Baby sprouts(Ngo Viet Dinh) ... Particularly during this period, the phenomenon of children writing poetry emerged, with prominent names such as Tran Dang Khoa, Cam Tho, Hoang Hieu Nhan, Chu Hong Quy, Nguyen Hong Kien... initiating a movement of children's poetry writing.

2.1.2.5. The period of national reunification and reform after 1975

Literature reflects society through the individual writer. Since the war against the US, especially since the Doi Moi (Renovation) period, it has undergone profound and comprehensive changes. Children's literature during this period has developed strongly, becoming rich and diverse, alongside the overall development of national literature. While independent, it also has a close relationship with the development of society. Generally speaking, the development of children's literature after 1975 can be divided into two periods: 1975–1985 and 1986 to the present. These two periods are marked by the Sixth Party Congress. The Sixth Party Congress created favorable conditions for writers as well as for the comprehensive renovation of the country. However, the renovation process did not happen suddenly or immediately; its development was a long-term process. Throughout its development, children's literature has its own unique characteristics, but its evolution has always involved a certain degree of inheritance from the achievements of previous periods. Therefore, the distinction here is only relative.

2.1.2.5.1. The period 1975 - 1985

The theme of resistance against French colonialism remained dominant. Vo Quang's *Dawn* continued the emotional theme of *Homeland*. This was the inspiration to praise the homeland and the revolution, which Phong Le called "revolutionary lyricism." This theme also included...The storm of childhoodof Thu Bon,The Iron Bat Intelligence Youth Teamby Pham Thang...

The theme of the resistance war against America includesBack then in Sa Kyby Bui Minh Quoc,Burnt sandBy Thanh Que... these works boldly wrote about the suffering and heavy losses of war – something that people were previously very hesitant to talk about with children. Many works were written with the poignant inspiration of "a time of bombs and bullets," with generations of children "wearing straw hats to go to school on long journeys," children evacuated from the city to the countryside, having to be independent and worry about everything...The empty houseby Quang Huy,Bitter flowerby Nguyen Thi Nhu Trang,The first rays of sunlightBy Le Phuong Lien... with a storytelling style heavily focused on reminiscence and memories, and a simple yet heartfelt narrative, these works evoke a truly touching and precious "time to remember" of the teacher-student and friendship bonds during the years of the war against America.

Writing about life after the country was completely unified, writers paid much attention to human morality. Works such asLoveby Pham Ho,City pierby Xuan Quynh,The boy has a talent for picking locks.by Nguyen Quang Than,Journey of Childhood DaysThe works of Duong Thu Huong... can be considered groundbreaking works that boldly exposed the negative aspects of society, with its flaws, backwardness, and the pettiness and envy in people's thinking.

Historical themes, which flourished in the past, have now almost stagnated. Authors specializing in historical fiction, such as Nguyen Duc Hien, Ha An, Le Van, and An Cuong, who previously focused on historical narratives linked to heroic figures and the nation's tradition of bravery in fighting foreign invaders, are now facing a near deadlock. To Hoai opened a new direction, exploring history in conjunction with myths, customs, and culture, and he achieved considerable success with this approach.deserted island,The story of the magic crossbow.,House of letters...

For about ten years after the end of the war against the US, literature in general, and children's literature in particular, was in a period of reflection and exploration. Poetry written for children was almost at a standstill. While there were some new signs in children's stories, they had not yet created a clear transformation. However, these signs of innovation were a starting point, of great significance for the comprehensive renewal of children's literature in the coming period – a period in which Vietnamese literature entered a time of profound, comprehensive, and profound change.

2.1.2.5.2. The period from 1986 to the present

The Sixth Party Congress truly instilled confidence and strength in the entire Party and the entire nation, bringing a new atmosphere to literature in general and children's literature in particular. During this period, there was an expansion of themes and approaches to life, as well as an increased capacity for exploring human nature. In the past, children's literature approached children from the perspective of community life and historical events, with themes often clearly defined. Writers approached children as a whole, as individuals influenced from many directions and dimensions; therefore, themes were often blurred, and each work did not have a single theme. Literature now engages with social life in many aspects, and the areas of interest in writing and approaching children are more diverse and rich. Children's literature, with its unique characteristics, still places special emphasis on cognitive and educational functions, reflecting the profound humanistic nature of literature for children.

2.2. Contemporary Vietnamese Children's Stories

2.2.1. General Concepts and a Comprehensive View

Children's literature throughout history has contributed to the formation of character and the enrichment of children's spiritual lives. Around the world, the field of children's literature has long received attention. There are timeless literary works that remain beloved by generations of Vietnamese readers today:Noble hearts(Amicis)No family(Herto Malo)The Adventures of Tom Sawyer(Mar Twain) ... Many other children's literary works have also been adapted into films:Charlie and the Chocolate Factory(Roald Dahl)Diary of a Wimpy Kid(Jeff Kinney)...

From 1954 to 1975, many writers emerged who wrote stories for children: To Hoai, Doan Gioi, Xuan Sach, Pham Ho, Vu Le Mai, Tran Thanh Giao... Works written for children during this period focused on reflecting the realities of life during the resistance war for national reunification and the building of socialism in the North. In the field of poetry, the emergence of children's poet Tran Dang Khoa with his collection...Corner of the yard and the skyThis is a significant achievement. Older poets like Pham Ho, Xuan Quynh, Huy Can... also have outstanding poems written for children, which are loved by them.

Children's literature before 1975 was quite consistent in tone, tending towards praising revolutionary reality and the masses. After 1975, with the reunification of the country, the whole nation embarked on building socialism. It can be said that children's literature from 1975 to 1985 was a period of preparation for renewal. Literary works from this decade remained close to the approach and reflection of reality from the previous period.

Since 1986, along with the rest of the country, Vietnamese literature entered a period of renewal. This was a transitional period for literature, a time of reflection and search for a path to innovation, and a movement towards democratization, imbued with profound humanistic and humanistic values. Children's literature, therefore, also developed and followed the general trends of national literature. The renewal process brought a new atmosphere to literature. Literature during this period was introspective, paying more attention to the fate of individuals in complex, everyday circumstances, and showed much exploration and innovation in artistic techniques.

2.2.2. The development of a team of writers specializing in children's stories.

Children's literature written during the đổi mới (renovation) period has made encouraging progress. The number of writers focusing on and for children has grown, becoming more diverse and varied across all social classes and age groups. They have initially achieved significant successes, paving the way for the development of children's literature in the years to come. Building on this foundation, children's literature enters the 21st century with great enthusiasm, both integrating with the world and preserving and promoting the traditional beauty of the nation. Writers transitioning between the two centuries, such as Nguyen Nhat Anh and Nguyen Quynh, have maintained their style and youthful energy in the new century. The book series "KaleidoscopeNguyen Nhat Anh's 54-volume series has had a strong appeal to children. Alongside established writers from the 20th century are emerging young talents such as Nguyen Ngoc Thuan, Tran Hoang Vy, Nguyen Ngoc Tu... In particular, Nguyen Ngoc Thuan has pioneered 21st-century children's literature with a series of award-winning works. His stories captivate readers with their clear, innocent writing style and childlike wonder. With his simple, unpretentious writing, Nguyen Ngoc Thuan has breathed new life into contemporary Vietnamese children's literature.

Overall, the team of writers creating children's literature in recent years has made new progress compared to previous years. Vietnamese children, alongside their passion for foreign works, have, to some extent, returned to their national roots. They have found good books for themselves by domestic writers. Their childhood is recreated joyfully and vividly through the writings of truly talented children's authors such as Nguyen Nhat Anh, Nguyen Ngoc Thuan, etc. While the number of writers for children has increased, not everyone writes well, and not every work attracts children. Therefore, while the number of writers for children has grown in recent years, the quality remains a pressing issue for us.

2.2.3. Innovation and Expansion of the Topic

Revolution and resistance are among the important themes explored by writers in peacetime. Living in a developed but complex society, family education is crucial for children. Many works have been written on this theme, such as...Ut Quyen and I,Younger sisterby Nguyen Nhat Anh;EnemyIn Quế Hương's work, the breakdown of the traditional model – a three-generation family living happily together – coupled with the harsh realities of the market economy, has significantly impacted the lives of individuals, especially children.Escapeby Phan Thi Thanh Nhan;In the old daysby Tran Thien Huong;FragmentLe Canh Nhac's work... is one example. Disasters and misfortunes in peacetime have lurked, threatening the lives of families and bringing suffering to the young heads of children.

The daily lives of children are also a focus of writers. The lives of city children are reflected in two realistic aspects: the lives of children from well-off families and the lives of poor children who have to study while also trying to earn a living, sometimes even becoming street children. Representative works include:Kaleidoscopeby Nguyen Nhat Anh;Flowers on the streetby Thu Tran;tripodby Đoàn Lư;A dream first day of schoolof Kim Hai... EspeciallyKaleidoscopeNguyen Nhat Anh's works are considered the most outstanding phenomenon and are especially popular with young children. Compared to works about the lives of city children, there are fewer works about rural children. When writing about rural children, authors often address the lives and tragic fates of poor and disadvantaged children, such as...Tears on the first day of school,The tutelary deity of my maternal hometown.by Dao Huu Phuong...

Children in mountainous regions during this period also received much attention from writers. The thoughts and feelings of children from ethnic minority groups were depicted innocently and simply, reflecting their inherent nature. A prime example is...The little boy playing the trumpetby Quách Liêu;The road back to Mother WordsAccording to Vi Hong, ...the theme of children's literature in mountainous regions is developing and has initially created an appeal among readers, contributing to enriching the thematic area of ​​Vietnamese children's literature.

Thus, contemporary children's literature is rich and diverse in themes. Besides traditional themes like revolution and resistance, which writers maintain and write about in a new, more realistic and relatable way, themes of family and daily life are also explored in depth. Many authors have produced outstanding works for children during this period, notably Nguyen Ngoc Thuan. His works have won numerous awards, and he is considered "a phenomenon of Vietnamese children's literature in the early years of the 21st century" (La Thi Bac Ly), and Nguyen Nhat Anh, a knight of childhood (various authors). And especially during this period, children's literature for children in mountainous regions has also received attention, with several works gaining widespread popularity. This represents a new step forward, creating a balanced and sustainable future for children's literature within the mainstream of Vietnamese literature. Despite facing many challenges, Vietnamese children's literature has gained international recognition through its works.With eyes closed and the window open, on the high hill, shepherds a flock of angels.(Nguyen Ngoc Thuan);Kaleidoscope, Stories of LangBiang(Nguyen Nhat Anh) ...

2.3. Representative authors of contemporary children's stories

The Children's Literature Contest – For the Future of the Nation, organized by the Youth Publishing House of Ho Chi Minh City, launched for the first time in 1993 and continued until its third edition in 2002, has brought to light the names of outstanding individuals such as Nguyen Thi Bich Nga, Thu Tran, and especially Nguyen Ngoc Thuan, with many exemplary works such as:Open the window while closing your eyes.(the award-winning Peter Pan work);Spinning spiderwebs(Third prize in the 2nd Young Writers' Literary Competition, 2000-2001);A dream(Award A in the children's writing competition organized by Kim Dong Publishing House, 2001-2002). In 2001, the competitionThe pen of youthOrganized by the Central Committee of the Youth Union in coordination with the Vietnam Writers Association, it attracted a large number of young writers, with recognized names such as Do Tu Cuong, Vu Huong Nam, Nguyen Dan Thi... Most notably, the Children's Literature Writing Campaign was organized in collaboration with Kim Dong Publishing House, the Vietnam Writers Association, and the Danish Embassy, ​​as part of a project supporting children's literature by the country of Denmark.The Little Mermaid"Andersen's '2006-2015' has sponsored many professional and amateur writers in literature in general, and children's literature in particular, such as Chu Thanh Huong, Luc Manh Cuong, Do Thai Thanh, Vu Thi Thanh Tam, Phong Diep, Nguyen Xuan Thuy, Trang Thanh, Nguyen Thi Hong Hanh... Among them, many authors have consecutively won awards through various campaigns such as Phuong Trinh, Tran Duc Tien, Nguyen Huong, Truong Tiep Truong, Nguyen Thi Bich Nga, Do Bich Thuy... and not a few authors have won awards while still in school such as Vu Huong Nam, Truong Huynh Nhu Tran... These are encouraging signs for the field of prose written for children. Behind the understanding, interests, and interesting stories, there are always cleverly "embedded" educational issues and humanistic lessons suitable for the children's age without making them bored.

2.3.1. Writer Nguyen Nhat Anh and writer Nguyen Ngoc Thuan

2.3.1.1. Writer Nguyen Nhat Anh

* The literary career of Nguyen Nhat Anh

Beginning his writing career with poetry, Nguyen Nhat Anh started writing poems at the age of 13, and his first published work was also a collection of poems titled...City of AprilPublished jointly with Le Thi Kim by Tac Pham Moi Publishing House in 1984, and laterWashing clothes by the river in early spring, Four-line poem for her, Festival of the dark night, Love poems by Nguyen Nhat AnhIn addition, Nguyen Nhat Anh's poems have been selected for publication in various other works with many other authors such asLove poem in a white dress,Poetry of Ho Chi Minh City over twenty years (1975 - 1995),Schoolgirl love poems, Summer in poetry...Nguyen Nhat Anh's poetry is not elaborate or ornate, but very simple, sincere, easy to read, easy to remember, and easy to appreciate.enterReaders will also encounter many of his poems in his short stories, where the author borrows the characters' voices to create poetry. Nguyen Nhat Anh's poetry is excellent, but readers seem to know him more as a writer. Readers are amazed and admire Nguyen Nhat Anh's prolific output, with over a hundred books published in more than twenty years of professional writing, many of which have been reprinted numerous times. To date, Nguyen Nhat Anh is the Vietnamese author with the most published children's books. Not only is his output substantial, but his works have also received many prestigious awards and, most importantly, have been widely read by readers both domestically and internationally.

Before Nguyen Nhat Anh, there was a whole generation of authors who had achieved great success writing for children, such as To Hoai, Vo Quang, Pham Ho, Phung Quan, Doan Gioi... But Nguyen Nhat Anh still managed to create his own unique style, his own path to success, which has influenced the writing of many young children's writers after him. Whatever Nguyen Nhat Anh writes attracts children because he has created a trustworthy brand that needs no further verification. Nguyen Nhat Anh has touched the hearts of childhood and the hearts of those who were once children with a compassionate and sincere heart.

In short, Nguyen Nhat Anh has developed his own unique philosophy and perspective on artistic language. This serves as a guiding principle for him to write literary works suitable for children. The language in his works is natural, innocent, and witty. Nguyen Nhat Anh incorporates the language of school life into his works so that children can immerse themselves in their own experiences and adults can relive the sweet memories of their childhood. Thanks to his clear philosophy and perspective on artistic language, Nguyen Nhat Anh is a writer who has achieved great success in children's literature.

2.3.1.2. Writer Nguyen Ngoc Thuan

* The literary career of Nguyen Ngoc Thuan

Nguyen Ngoc Thuan, a name frequently mentioned in Vietnamese literary circles in recent years, entered the world of children's literature when many other writers, such as To Hoai, Vo Quang, and Pham Ho, had already achieved success and become indispensable forms of entertainment for readers. He viewed literature with the eyes of an artist, creating a unique and captivating style. He personally drew the illustrations in his short stories, meticulously designing the world of people and things with fine details, resulting in sharp, delicate lines. Therefore, in Nguyen Ngoc Thuan's works, readers can fully appreciate paintings with the vibrant colors and distinctive shapes of art. Painting became the raw material for the author to mold and shape his characters. These elements intertwined to create a literary work that we not only admire but also feel. His childhood life, closely tied to his hometown, is also a source of inspiration and a foundation for the stories he writes. Nguyen Ngoc Thuan writes using his own feelings, the feelings of his parents, his neighbors, and his friends that he perceives.

Nguyen Ngoc Thuan understands a crucial aspect of artistic creation: he constantly experiments with novel, unique, and creative writing styles to provide readers with a pleasant and comfortable feeling after finishing his works. This relentless creativity has earned him prestigious awards that not every writer can achieve. It can be said that, through his writings, Nguyen Ngoc Thuan has contributed a voice that diversifies contemporary Vietnamese literature. He has offered readers a different perspective on literature and a new way of appreciating it, helping them rediscover the pure, innocent echoes that still linger in their souls.

2.3.2. Other authors

Since the Sixth Party Congress, our country has entered a period of reform, and consequently, literature has also undergone a transformation, including children's literature. Writers are free to write about their concerns, including things they couldn't express during the war years. Writing autobiographies is one way for writers to more easily convey their feelings in their works. A series of works have been published, such as...Silent childhoodby Duy Khan,A peaceful childhoodby Vo Hong,A turbulent childhoodby Phung Quan;Orphaned amidst life's hardships; Bi the Dog, a Wandererby Ma Van Khang;The road back to Mother Chuby Vi Hong;The horizon is wide open.by Đoàn Lư;Grandmother and grandchildby Dang Thi Hanh;Childhood of aspirationsby Vu Duc Nguyen;Echoes of Childhoodof Vu Bao...

Events are seen through the innocent eyes of a child; sometimes, events that are very important to adults seem insignificant to the characters in the work. It is precisely this perspective that gives children's autobiographies the feeling that their lives are lovely and peaceful, even though the characters experience extremely important events. Simplifying events often helps the work retain the essence of childhood, even though the author wrote it after having lived almost their entire life.

Children's stories are often recollections of the author's childhood, so the events and incidents are usually connected to the author's own early years. And precisely because they want to explain their own birth, growth, and maturation, authors often include events and incidents linked to the changes in society and the times. These events may directly or indirectly affect the characters through another character. The society and the times always have a profound impact on the lives and destinies of the characters, especially the main character.

Summary:

The concept of children's literature is recognized from many angles: the creative subject, the central character, the purpose of creation, and the target audience. Every work created by a writer aims to educate and nurture the soul and character of children. Its central character is a child, and sometimes also an adult, or a breeze, an animal, an object, a tree... The authors of children's literature are not only the children themselves but also writers of all ages. Children enjoy reading these works because they find in them ways of thinking, feeling, and acting that are close to their own; moreover, they find in them a message, a lesson, encouragement, and subtle, helpful guidance in the process of perfecting their character. Children's literature consists of literary works in which the central characters are either children, adults, human beings, or the natural world... but viewed through the eyes of a child, with content that is familiar and relatable to children's experiences, appealing to them, captivating them, and contributing to the development of their morals and souls. Children's literature bears the imprint of history and the spirit of the times.

 

Chapter 3

THE ART OF CHARACTER DEVELOPMENT AND PLOT STRUCTURE IN CONTEMPORARY VIETNAMESE CHILDREN'S STORIES 

3.1. The Art of Character Development

3.1.1. Overview of the character

The character is “artistic representation of humanitySometimes, these are animals, plants, or mythical creatures attributed with human-like characteristics. In ancient Greek, the word "persona" initially referred to the mask worn by an actor on stage. Later, this term came to be used most frequently to refer to the objects that literature describes and portrays. Character development is a very important issue that writers are concerned with. Literary characters are conventional artistic phenomena with identifying features such as names, biographical details, occupations, and unique characteristics... these features are usually introduced from the beginning, and typically, the character's later development is closely linked to these initial introductions.

In narrative works, characters are divided into various types. From the perspective of ideological content or character qualities, there are protagonists and antagonists. From a structural perspective, there are main characters and supporting characters. From a genre perspective, characters can be classified as lyrical characters, narrative characters, and dramatic characters. It can be said that characters are the core of artistic creation, the focal point through which writers interpret all aspects of life. Characters may be merely embodiments, shadows, or fantasies of the author, or they may be constructed from real-life prototypes combined with the writer's fictional abilities. To successfully create a literary character, the writer must possess the ability to empathize and discover enduring characteristics in the character. This requires the writer to understand life and people, and to describe and portray the character in a way that is powerfully persuasive to the reader. This issue is directly related to the methods of character development in literary works.

3.1.2. Nartcharacter developmentin contemporary children's literature

3.1.2.1. Child characters on many levels, closely connected to and familiar with childhood.

The portraits of children in contemporary children's stories are no longer blurred within the broader picture. Each character brings their own unique appearance, gestures, clothing, and demeanor; no two are alike, each is distinct. Some are stubborn and straightforward, others shy and timid, some innocent and cheerful, while others dreamy and romantic... In portraying children in contemporary children's stories, writers have established a closer relationship between the writer, the character, and the reader. Children are depicted more realistically, vividly, and more like children themselves. The most prominent example is the innocent and playful type of child. It can be seen that when portraying innocent children, authors often focus on describing the character's gestures, mannerisms, and movements to express the mischievousness of childhood while creating a cheerful portrait. Through the portrayal of their appearance, gestures, and mannerisms, the child characters in contemporary Vietnamese children's stories appear vivid and individualistic, not merely "figureheads" to guide the narrative. They create a colorful, bustling, vibrant, and fresh world.

3.1.2.2. The language of children

Abandoning epic tendencies and no longer being forced to represent the typical voice of a particular class, contemporary children's literature is quite flexible in its language. While previously children were forced to play the roles of political or propaganda officials, now they speak the voice and language of children. Writers introduce colloquial language systems to enhance the individualization of characters. Instead of the standardized forms of address like "you - I," "me - you," etc., they use more informal and friendly terms like "I - you," "me - you." Similar to adult literature, when returning to everyday language, children in children's stories also use colloquial and rough language (Tẩn), and may even swear (Đếch sợ). This shows that the trend towards democratization of language in adult literature after 1975 has also spread to children's literature. Characters in modern Vietnamese prose engage in a type of dialogue that strips away taboos, conventions, and embellishments. Using the natural, naive language of children to portray characters is also a method used by writers of children's stories worldwide; the characters' language is recorded by the writers themselves, not through deliberate "editing." Therefore, it reaches children very naturally, like their everyday lives.

3.2. The Narrator Character

The narrator is the person telling the story, the subject. The narrator is also called the storyteller, usually occupying the narrative point of view. In a work, one may find a hidden third-person narrator and an overt first-person narrator who is also a character.

3.2.1. The narrator's point of view

The narrator is a creative product of the writer, a crucial means of expressing their artistic viewpoint. The narrator acts as a bridge between the characters and the reader, replacing the author in expressing their views. However, the narrator and the author should not be equated, as the author's perspective is far broader than what the narrator can express within the confines of the work. When considering the narrator, the point of view is the first issue to be examined. The point of view tells us who is recounting the story. In narrative works, there are three types of point of view corresponding to the speaking perspectives in grammar: first, second, and third. However, the second person is the listener, the recipient of information, making it difficult to express in narrative; therefore, second-person narrators rarely appear in literary works, while first-person and third-person narrators are more common. The narrative perspective is one of the crucial elements contributing to the success of a work. It reflects the point of view the author chooses to tell the story; whether the story is engaging and persuasive to the reader largely depends on this element. Depending on the author's creative intent, the writer will choose the most appropriate narrative perspective when constructing the plot.

*First person:The most common narrative perspective is the first person, in which "IThe narrator acts as a conversationalist, recounting the story of the animals. In this case, the narrator is like an older friend confiding in the children. This first-person narrative style resembles how grandmothers and mothers tell fairy tales to their children. Therefore, although the narrative is in the first person, it maintains the necessary objectivity, combined with a heartfelt tone—sometimes humorous, sometimes profound—captivating the interest of young readers. Sometimes the narrator simply recounts the story without commenting or offering any opinions. Through flexible application, the first-person perspective gives the story an objective tone, a friendly and intimate attitude, creating interaction and dialogue with the children, acting as a guide to help them explore the animal world in the stories.

*Third person:This narrative perspective is also chosen by many writers because it maintains objectivity in the work and stimulates thought in the reader. When using the third-person perspective, because the author does not appear in the story but lets their character speak, the reader may mistakenly think that the author is completely indifferent, expressing no attitude, and remaining coldly detached from the story. Readers are often drawn into the character and forget about the author. However, this indifference is only a facade; the author has cleverly conveyed their own attitude. To understand the author's thoughts and feelings, the reader must grasp the issues within the story. In children's stories, this method of concealing issues, while complex for the children's age group, also serves to encourage them to think and delve deeper into the issues. With this narrative perspective, the author stands in an objective narrative position, maintaining a certain distance to observe and evaluate events. Young readers receive the story in a relaxed and natural way, able to equally evaluate the events in their own manner, without being imposed upon by the author's thoughts and opinions, which makes it appealing to them.

3.2.2. Point of Viewby the narrator

3.2.2.1.Narrative point of view

Narrative point of view is a fundamental and crucial aspect of story structure. Point of view refers to the position or perspective from which to observe, describe, and evaluate events and phenomena within a work. In narrative works, the relationship between the writer and the narrative subject, or between the narrator's point of view and what he or she recounts, is particularly important. Narrative point of view is related to all other types of points of view, such as:author's point of view, character's point of view, spatial point of view, temporal point of view, psychological point of view, evaluative point of view, rhetorical point of viewThe point of view reflects the narrator's perspective and contributes to the writer's worldview in the work. Through the work, we can see the writer's attitude of love, hate, etc., towards their characters. There are many ways to classify narrative points of view, such as author's point of view and character's point of view, internal and external points of view, subjective and objective narration... In traditional literature, most works are developed from a relatively stable point of view. Theorists call this the "point of view".know in advanceThis means the narrator describes and recreates life primarily from the third-person perspective. Essentially, traditional literature mainly originates from an external point of view. In modern literature, however, the narrative perspective becomes richer and more diverse. The point of view is not fixed but rather immutable and flexible.

3.2.2.2. Point of View in Narrative Prose

*Author's point of view:The narrator in a story can be understood as an omniscient storyteller.as a historian), the narrator is in the third person and is impersonal (not entirely narrative exclusive) or in the first person (eyewitnessUsually, the author tells the story in the third person. But sometimes, the author uses "the pronoun".IThroughout the work, this is referred to as "second self" of the author. The third-person perspective is objective, while the first-person perspective is subjective.

*Character's point of view:The author sometimes empowers the characters to tell the story, that is, to give them their point of view. This is a clever tactic for several reasons: It avoids monotony because multiple people participate in the storytelling. The author uses the characters to express things that the author would not feel comfortable saying themselves. It can also use the characters' voices to increase objectivity, creating diverse perspectives and enhancing democratic dialogue.

*Spatial perspective:Spatial point of view refers to the viewing position, direction, distance, field of view, perspective, and the alternating points of view across spaces. This point of view is reserved for both the author and the characters, collectively known as the viewing subject. The subject can stand below or above, near or far, to describe the character. From what perspective does the subject view the object: good or bad, comprehensive or one-sided, front or back? It is advisable to compare the points of view between characters and with the author to see if their perspectives on life are correct or incorrect, appropriate or inappropriate...

*Time point of view:We understand that time here includes both narrated time and narrative time. Event time can be viewed as continuous or fragmented, in a "..." style.time for jumping exercises"Sometimes the author observes events in chronological order, but at other times the perspective is reversed, with past, present, and future interwoven. By observing how different types of time are treated, we can also discern the author's ideology. Normally, people view time as a formless element, but in the eyes of artists, time also has its own form."

*Psychological perspective:Psychological point of view is concretized into pairs of categories: internal – external point of view, subjective – objective point of view, etc. Characters described only from an external point of view are action-oriented characters (fairy tales). Characters described primarily from an internal point of view are those with rich inner lives (stream of consciousness novels). Modern writers tend to focus on the subtle nuances in the character structure of their characters. Talented writers are often those with a keen ability to analyze character psychology. However, to make the story more vivid, writers often combine both internal and external points of view.

*Review perspective:The point of view used to evaluate events and phenomena, and the evaluative attitude, can be expressed through the narrative or through the characters' manner of speaking, their forms of address, etc. Sometimes the author directly expresses their viewpoint (author's point of view), but sometimes they allow the characters to speak for themselves. The evaluative point of view can be immutable, as in the use of artistic modifiers in epics, but it can also change over time, according to the character's progress or moral decay. The character's and the author's perspectives on life may be contradictory. The point of view of the lyrical subject and the author may not coincide.

*Rhetorical point of view:Rhetorical devices are the way of selecting and modifying words to make them accurate, beautiful, and highly effective. Rhetorical devices must also be linked to the author's unique perspective on the subject being described. The concept of point of view is expressed by many different names: perspective, viewpoint, observation point, focal point, focal length, plane, narrator's position, etc.

3.3. The Art of Plot Organization

3.3.1. An Overview of Plot in Narrative Prose

Plot is considered an indispensable element in literature. This shows that it is the primary element of a narrative work, serving as the framework and foundation for its content. The plot reveals the theme and ideas of the work, and portrays the characters' personalities. A work with an engaging and captivating plot will make its theme more persuasive. The plot is not the entirety of the work's content, but through the events and actions depicted in the plot, the author presents and resolves conflicts and social contradictions artistically. Through this, the characters' personalities are formed and developed within their interrelationships, ultimately clarifying the work's thematic ideas.

3.3.2. The art of plot organization in contemporary children's stories

The plot acts as a central axis, drawing attention to all other artistic elements such as characters, action, and language. Especially in narrative works, the plot is always the primary concern of writers because it is the "core" of the story's development, creating its appeal and attractiveness to the reader.

The plot lacks coherence:These are stories that have no plot or a plot that is not focused on any particular topic.

*Adventure plot:As a rather broad and complex issue, the plot is based on a character or group of characters being uprooted from their familiar place or environment to venture into a dangerous, unfamiliar place; adventure is always associated with risk.

*A storyline depicting everyday life:It is the main inspiration in the works of writers, reflecting the multifaceted reality of everyday life.

*Fairy tale plot:The magical details, numerous folk tales, and stories revolving around the relationships, conversations, and actions of the characters all contribute to delivering gentle yet profound educational lessons.

*Psychological plot:In these stories, there are only a few events; the rest is based on the characters' perceptions, feelings, memories, associations, and internal monologues.

*Plot piece:The issues of life are expressed through events and situations, rather than through characters as in conventional plots. Characters in works with fragmented storylines no longer play a central role. This series of storylines is organized by events unfolding in a multi-layered relationship. The events are loosely structured and have little connection to each other because there isn't necessarily a cause-and-effect relationship between them, but simply a relationship based on similar motifs.

*Episode plotThis type of plot is made up of a series of stories but is separated by its own plot points, purposes, or circumstances.

*Lyric plotThe story expresses the unfolding emotions and moods in a simple, unpretentious way. It explores life around us, offering meaningful educational lessons, lessons about giving and receiving, and lessons about family and community bonds.

*Humorous plotThe lighthearted, witty, and humorous writing style leads us to a small world, a childhood filled with love, with joy and sorrow, regrets, tears, moments between life and death, and ultimately, endless cherished memories. The humor permeates the work, creating bursts of laughter not only for children but also for adults.

Summary:

The plot in children's literature is a type of storyline that allows writers to freely express their feelings, thoughts, or reminisce about their past without much worry. The rambling recollections may not follow a chronological order, but they allow writers to freely express emotions about childhood memories. The plot is often appealing to children because it satisfies their curiosity and desire to explore new things. Writers have also demonstrated their efforts in constructing plots and character portrayals of children by creating vivid, relatable portraits that resonate with children's lives. Furthermore, the children in contemporary children's literature have been given their own voice. Though their speech may be hesitant and naive, they are incredibly innocent, carefree, and genuine. The appeal of contemporary literary works lies in establishing a unique language specifically for children, belonging to children.

Chapter 4

ARTISTIC TIME AND SPACE, LANGUAGE AND NARRATIVE TONE IN CONTEMPORARY CHILDREN'S STORIES

4.1. Artistic Time and Space

Artistic time and space are categories of artistic form, reflecting the mode of existence and development of the artistic world. Artistic time and space are two inseparable aspects in each work. In lyrical works, time and space, like all phenomena in the objective world, when entering art, are illuminated by thoughts and feelings, molded and recreated into a unique artistic phenomenon imbued with the writer's creative personality. In literary works, space and time sometimes appear as an image, sometimes as an artistic technique. Space and time are always interconnected, so we study them in conjunction. After identifying the characteristics of space and time, we will study their relationship with each other.

4.1.1. Artistic Time

4.1.1.1. Concept of artistic time

Artistic time is time perceived psychologically through events and aesthetically significant changes occurring within the artistic world. In a work of art, real time does not coincide with artistic time. This non-coincidence demonstrates that artistic time is constructed according to how humans perceive time. Consciousness of time is consciousness of human existence. Discovering time helps people gain a deeper understanding of themselves and life. Therefore, when considering artistic time, what is important is not the way time is represented, but rather the author's conception and understanding of time.

4.1.1.1.1. Return time

The past is a typical theme in the artistic world of the work, reflecting the sentiment: "The past is always beautiful, but talking about the past is difficult," and living with the past is certainly not easy. The author realistically recreates the past, interwoven with the emotions of a person far from home, a seasoned individual reminiscing about their childhood.

4.1.1.1.2. The intertwining of past and present time

Recounting the past is a quest for lost time. Authors of autobiographies always use the perspective of the present to illuminate the past; therefore, time in autobiographies is often interwoven with the present. Through the character's recollections, time is fragmented into seemingly disjointed segments, yet in reality, they are tightly knit and systematic: the present and the past are intertwined, interwoven, with a part of the present pushed into oblivion and a part of the past thrown back into the present.

4.1.1.1.3. Precise and specific time

The past in each writer's work bears the distinct mark of their own life. Writing about that past from the present moment, in which the author is living, makes the intertwining of present and past time understandable. The precise and detailed use of time creates a high degree of authenticity and persuasiveness in the work. This gives the reader the feeling of hearing the writer recount their own life.

4.1.2. Art Space

4.1.2.1. Concept of Art Space

Artistic space is the form of existence of the artistic world. If everything in the world exists in three dimensions: height, width, distance, and time, then no artistic image exists without space, no character exists without a certain background. But artistic space has a special characteristic. The storyteller or lyric poet themselves views things from a certain distance and perspective. Artistic space is the creative product of the artist, aiming to express humanity and a certain conception of life. Artistic space is the model of the world of the specific author, expressed through the language of spatial symbols. This language itself is less individualistic and largely belongs to the era, society, and different groups of artists, but what the artist says through that language is different – ​​it is a unique model of the world. Artistic space is a closed phenomenon, like the space of a game.

4.1.2.2. Artistic Space Structure

The artistic space within a work of art is a modeling of the temporal, social, and moral relationships within a worldview that reflects the author's conception of world order and their choices.

A warm and loving family space.Autobiographies written for children are characterized by their connection to the author's childhood, so the artistic space in the work is also linked to the author's living space, which includes the family space, the village space, and the school space.

Object spaceThings that are closely associated with childhood leave indelible impressions in everyone's memory. Authors writing about the world of objects connected to the living space of childhood always write with a tender, affectionate, and respectful tone. Children's eyes view the small things in the house with innocent, pure, and loving eyes, and that space remains etched in their childhood memories.

Garden spaceChildhood memories are not only connected to household items but also to the yard and garden. The small yard and lush green gardens are where countless happy and sad childhood memories are intertwined.

4.2. Language and narrative tone

4.2.1. Narrative Language

Language is a primary and crucial element in human life. It is the material for constructing literary works, a tool for communication between people, and a means for expressing thoughts, feelings, personality, and essence in the most authentic way. Narrative language plays a key role not only in the narrative method but also as a fundamental element in expressing the writer's style, conveying the author's perspective, tone, and personality. Narrative language is vital in building the imagery of a work and expressing its central ideas and content. Therefore, in artistic creation, every writer carefully selects narrative language to establish a unique linguistic style for their works.

4.2.1.1.Language in tChildren's stories by Nguyen Nhat Anh

* Everyday language:Nguyen Nhat Anh's works also feature many idioms, proverbs, and colloquialisms, further illustrating the everyday language in the author's writing. The rich vocabulary and effective use of language give Nguyen Nhat Anh's works a strong appeal; the characters are no longer just characters in the book, but become as real as people in real life. This demonstrates the rich vocabulary and talent of a great writer.

4.2.1.2. Language in the textChildren's stories by Nguyen Ngoc Thuan

* Languages ​​of South Central Vietnam:Nguyen Ngoc Thuan has used a diverse and rich vocabulary deeply imbued with the spirit of the South Central region of Vietnam. From nouns, verbs, adjectives to personal pronouns, the writer has directly absorbed the everyday language of the people there. It can be seen that the use of this language in literary creation does not present the writer as a cultural researcher, but rather, through his artistic world of language, Nguyen Ngoc Thuan awakens in the reader's soul a return to Vietnamese cultural values ​​through the art of communication and language use.

* The narrative language is strongly folk-like:Nguyen Ngoc Thuan's linguistic world is like a melody capable of penetrating deep into the reader's senses, touching the deepest parts of each person's soul, awakening the sacred feelings of kinship in the Vietnamese consciousness. It is this fairytale language that is the source of the writer's captivating masterpieces. The system of common words found in fairy tales, fables, and legends is used by Nguyen Ngoc Thuan with high frequency. It is like pristine patches of light, representing not only the voice of Vietnamese children but also the soul of the entire Vietnamese nation.

* Language of dialogue:The dialogue in Nguyen Ngoc Thuan's stories is distinctly childlike, both witty and playful, yet also profound and gentle. There are no dramatic or intense conflicts; instead, the dialogue is primarily one of sharing feelings, offering comfort, encouragement, and gentle reminders. There is no condescending, imposing, or overly didactic tone towards the children.

*Internal monologue language:In Nguyen Ngoc Thuan's children's stories, the characters' internal monologue appears in a direct form, expressing their inner feelings with a series of words such as:I keep thinking, I often think, I wonder, I imagine...."The boy in the story"A dreamAlways soaring with dreams every night. This is also a clever artistic technique that Nguyen Ngoc Thuan uses to evoke the character's soul, helping readers more easily grasp the character's psychology.

4.2.2.Gtonenarrative

For narrative works, the narrative tone plays a crucial role. It is a fundamental aspect that constitutes the artistic form of a narrative work, and an indispensable measure for determining the talent and unique style of the artist. The tone is the means by which the storyteller deeply reflects the realistic portrayal of human life. Furthermore, the tone strongly reflects the author's creative personality. Therefore, each writer always speaks in their own unique tone. Finding the right tone will help the writer tell a more engaging story and express the work's ideas more profoundly.

4.2.2.1. Tone in the textChildren's stories by Nguyen NLight

Humorous tone:Nguyen Nhat Anh has a unique voice that defines his style. It's a witty, humorous voice. In any of his stories, readers can easily recognize this quality.humor - children - kids"Without embodying the character, no adult could possibly 'mimic' the voice." The author uses many elements to create a humorous tone for the work, such as the naming of characters, objects, spells, books, or subjects in the wizarding world.The story of LangBiangThe use of words, expressions, sentence structure, perspective on issues, or creation of situations... all contribute to the cheerful atmosphere of the writer's works.

*Philosophical tone:Nguyen Nhat Anh successfully conveys a philosophical yet innocent tone, sometimes even an exaggerated or hyperbolic one, which he uses when describing the characters' exaggerated portrayal of achievements. But even when the writing is contemplative and philosophical, the reader doesn't find it dry or rigid; on the contrary, it remains gentle and insightful because these conclusions are often revealed in interesting situations.

4.2.2.2. Tone in the textChildren's stories by Nguyen NPure Jade

In writing for children, Nguyen Ngoc Thuan has found his own unique narrative style, which is engaging and brings readers a warm and pleasant feeling.

*A warm and friendly tone:The intimate and affectionate narrative voice has contributed to making Nguyen Ngoc Thuan's stories always gentle, easily touching the hearts of readers, and garnering empathy and shared feelings, even when the author writes about sadness or death. With this narrative voice, the writer has created a very unique style – Nguyen Ngoc Thuan's style, unlike anyone else's.

*A clear, lyrical tone:Nguyen Ngoc Thuan chose a suitable writing style: a clear, lyrical tone. He has presented readers with emotionally rich and poetic prose, delivered in a pure, lyrical voice. Simultaneously, by diversifying his narrative voice and language in his stories, Nguyen Ngoc Thuan not only demonstrates his talent and boundless creativity but also reveals his ability to embody multiple personas. This is also a way for him to indirectly express his views and thoughts on life and art.

Summary:

The concept of point of view is expressed by many different names: perspective, gaze, observation point, focal point, focal length, plane, narrator's position, etc. Point of view arises in the relationship between the narrator and the content being narrated. Tone is the soul of narrative language; there are many different views on tone, but most agree that tone is the attitude, feelings, stance, ideology, and morality of the writer towards the phenomenon described in the text, determining the way of addressing, naming, using words, nuances, emotions, the way of perceiving things—near or far, intimate or distant, respectful or informal, praise or satire. Each writer has their own style, language, and tone.

Nguyen Nhat Anh is very subtle in his use of vocabulary that is very characteristic of the world of childhood. The writer not only demonstrates keen observation skills when entering the world of children but also shows the ability to mobilize and use that rich vocabulary skillfully and sensitively.

Nguyen Ngoc Thuan's children's stories are primarily narrated from the character's point of view. The narrator is also an insider, directly witnessing the events, immersing themselves in the circumstances to describe, analyze, explain, record, and express their attitudes, feelings, and thoughts. The narrative language in Nguyen Ngoc Thuan's stories is a blend of fairy tales and modern elements, creating a sense of wonder and charm. Readers can find the fantastical elements of fairy tales infused into the events through the eyes of a child, and this is a positive aspect; it materializes dreams and idealizes goodness.

CONCLUDE

1. A general survey of the poetics of contemporary Vietnamese children's literature confirms that this literary genre has made significant progress and undergone innovation compared to previous periods. However, this innovation is not entirely sudden but rather a process of quiet preparation from within. This is clearly demonstrated in the two periods of development before and after the Sixth Party Congress. Furthermore, innovation also encompasses elements of continuity. Contemporary Vietnamese children's literature has developed on the foundation of achievements attained by children's literature during the periods 1945-1975 and 1975-1985. It both inherits the best aspects and transcends the naive and simplistic to create a new level, meeting the needs of readers and contributing to the country's renewal and development. In its search for a new direction, children's literature is no longer confined to a few themes as before, but has opened up to explore and approach children's lives in a diverse, comprehensive, and authentic way. The relationship between children and their families is considered the most profound and influential in shaping their personalities. This family relationship expands to other relationships, broadly encompassing school and the wider world, and more deeply connecting them to the cultural and historical life of the nation. It can be said that contemporary Vietnamese children's literature has integrated into the overall movement and renewal of literature, contributing to the new face of Vietnamese prose in this century.
2. Over nearly a century, Vietnamese children's literature has achieved many successes. Stories written for Vietnamese children have richly and comprehensively depicted the lives of children throughout different historical periods. In each stage, the appearance of child characters has different characteristics, partly depending on the historical context, the impact of socio-cultural factors, and the literary context. On the other hand, it is also influenced by the creative purpose and the writer's perspective. Identifying children's literature in its developmental process is essentially a process of "reconstructing" the image of children through historical stages. Through each contemporary Vietnamese children's story, the child character reflects the image of an entire nation, a culture, and social perceptions of childhood. Children are not merely figures in a work of art, but also core elements containing artistic codes that need to be unlocked.
3. A noticeable characteristic of child characters in contemporary Vietnamese children's literature is their focus on ideological and moral education, from young soldiers in combat to exemplary citizens and role models. This diversity of character types, along with new perspectives on portraying children, has given contemporary children's literature a fresh, youthful, and vibrant feel. In the early stages, child characters didn't undergo significant innovation, although writers began to consciously modernize their portrayal. This can be seen in the character types themselves. Later on, the portrayal of children underwent significant changes. A prominent feature is the shift in the concept of children, moving from a focus on what needs to be provided to children and judging them according to the imposed criteria of adults to a fundamental shift in children's literature, where children are the center of exploration and discovery. Advances in the understanding of children, stemming from achievements in psychology, education, and the overall atmosphere of national renewal, are increasingly fostering a closer relationship between writers and readers, and between writers and the realities of children's lives. In each era, the circumstances and demands of life present writers with new challenges, but creating child characters in contemporary children's literature represents a significant effort by writers to keep pace with life and truly serve as spiritual nourishment for young children. The innovation in contemporary Vietnamese children's literature is also evident in many other aspects, but fundamentally, the renewal of the concept of children is the core of this process, creating a new face for children's literature in this period.
4. The renewal process of contemporary Vietnamese children's literature is also reflected in the increase of new genres, the diversity of tone, language, and autobiography. Modern fairy tales and short stories have emerged prominently with significant achievements, contributing to the richness, diversity, and new appearance of the genre. The portrayal of child characters shows that Vietnamese children's literature increasingly tends to create characters closer to the lives and psychological characteristics of children, with unique features and aesthetics. The expression of character personality, along with the need to approach life in a diverse and multifaceted way, creates a multi-voiced nature in children's literature during this period: journalistic and news-reporting tones; lyrical tones; playful and humorous tones... This is also evidence of the maturity and development of children's literature in particular and Vietnamese children's literature in general.
5. Contemporary Vietnamese children's literature, while achieving certain successes, still feels a lack of works where writers truly unleash their imagination. Everyone knows that imagination is essential to children's literature. A work written for children should not only entertain them but also stimulate their aspirations and beliefs. It shouldn't just be pure imagination, imagination within a realistic mindset, deeply connected to reality and based on the writer's reflections on life, but also imagination with a premonition and foresight about the future. Children's literature must awaken the profound emotional capacity of children, forming in them beliefs connected to aesthetic values ​​and beauty, so that from children's issues, it can be elevated to a level of thought, with human and universal significance. Even if a writer writes about social injustices and dark realities, ultimately they must awaken noble human values ​​in the hearts of children. Famous works around the world such asThe little princeby ASExupery,Tom Sawyer, The Prince and the Poor Boyby Martwen,Gulliver's TravelsG.Suyp's works, both imaginative, imaginative, and fantastical, yet deeply humane, have created a powerful appeal and enduring value. They will forever be valuable inspirations for writers of children's literature.

Studying the poetics of contemporary Vietnamese children's literature in particular, and children's literature in general, is a long process requiring considerable time, effort, and the work of many people. The author of this dissertation does not consider this to be the only understanding, much less the most accurate, of children's literature, but nevertheless, these are the cherished insights accumulated during research and teaching. Hopefully, after this dissertation, we will continue to research this fascinating area of ​​literature, not only focusing on stories but also on many other phenomena in children's literature.