It has the power to convey the human soul and lead to the Christian faith. Literature is the source of this nation's life. This is why the Gospel has naturally been included in Vietnamese literature.”Īt the same time, “The national language has flowed throughout the history of the Church, contributing to its mission. He stressed that Vietnam’s “national language has become popularised since 1865. Mgr Joseph Đặng Đức Ngân, Bishop of Ðà Nẵng and chairman of the Cultural Committee, spoke at the meeting.
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One conference focused on ‘Four hundred years (1619 – 2019) of the formation and development of the national language in the history of evangelisation in Vietnam’, attracting more than 200 participants, including linguists, historians and evangelisation experts. To mark the 400th anniversary of the romanisation of the Vietnamese language, the Catholic Bishops’ Conference of Vietnam organised a number of symposia in Ho Chi Minh City on 25-26 October. Within 50 years of the arrival of Christianity in the country in 1615, about 320,000 people had embraced the new religion. Since its invention, the script also became an important tool in the spread of Christianity. In 1919 the national language script (Chữ Quốc Ngữ) became the only writing system allowed in schools. This polyglot native of Avignon authored three books on the romanised script, including a trilingual Vietnamese-Portuguese-Latin dictionary – Dictionarium Annamittticum Lusitanum et Latinum – published in Rome in 1651, as well as a Vietnamese grammar book and a catechism. The following year, he took his mission to Đàng Ngoài (northern Vietnam).īetween 16, Fr de Rhodes picked up where Fr Francisco de Pina left off and complete the work, developing a 24-letter alphabet for Vietnamese. That same year, he began to study Vietnamese and adopted the name Đắc Lộ to evangelise in Đàng Trong (southern Vietnam). Born in Avignon (France) on 15 March 1591, he arrived at the port of Hội An, in Đà Nẵng (central Vietnam) in 1625 along with four confreres and some Japanese Catholics. Ingredients: 1.5 oz rum, cup coconut cream, cup orange juice, cup pineapple juice. The earliest Romanised script was completed in 1619.Įventually Fr Alexandre de Rhodes, deemed the father of Chữ Quốc Ngữ, came into the picture. This easy pina colada recipe is a tropical getaway in a glass. Thanks to Italian and Portuguese clergymen, above all Fr Francisco de Pina, and the contribution of Vietnamese Catholics, work on the language improved. The first Western missionaries arrived in Vietnam in the 16th century, with some starting work on a romanised script to replace Chinese characters to help in their evangelising work. Until the early 17th century, Vietnamese used both the Chữ Hán (Chinese characters) and Chữ Nôm (simplified or revisited Chinese characters) to communicate in writing.įor ordinary Vietnamese, both were very difficult to learn, especially among the poor who could not afford to go to school. During his stay he developed the Vietnamese alphabet.
![pina myanmar language pina myanmar language](https://thcvapesoil.com/wp-content/uploads/2020/08/pina-colada.png)
The adoption of the modern Vietnamese alphabet (Chữ Quốc Ngữ) opened the country to the world and to the proclamation of the Gospel.Ī French Jesuit missionary, Fr Alexandre de Rhodes, Fr Đắc Lộ in Vietnamese ( picture 2), lived in the South-Asian country between 16. Edited by noted Bausch scholar, Royd Climenhaga, "The Pina Bausch Sourcebook" aims to open up Bausch s performative world for students, scholars, dance and theatre artists and audiences everywhere.Hanoi (AsiaNews) – In 2019 the Vietnamese Church celebrates 400 years since the first romanisation of the local language. Interviews, reviews and major essays chart the evolution of Bausch s pioneering approach and explore this evocative new mode of performance.
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This edited collection presents a compendium of source material and contextual essays that examine Pina Bausch's history, practice and legacy, and the development of Tanztheater as a new form, with sections including: Pina Bausch s work has had tremendous impact across the spectrum of late twentieth-century performance practice, helping to redefine the possibilities of what both dance and theater can be.