Journal of Chinese Language and Culture Studies

A Study of Problems in Vietnamese Learners’ Acquisition of Chinese Aspirated and Unaspirated Plosives and Affricates

Thi Son Nguyen — 2026-06-02

This study investigates Vietnamese learners’ acquisition of aspirated and unaspirated sounds in Chinese plosive and affricate consonants through a comparative analysis of the Vietnamese and Chinese consonant systems, supplemented by experimental research. Voice Onset Time (VOT) values were extracted using PRAAT and statistically analyzed with SPSS 27. The results reveal the following major findings: (1) Vietnamese initial consonants exhibit a clear voiced–voiceless distinction but lack an aspiration contrast. (2) The Vietnamese plosives zh [ţ] and ch [c] display slight affricate-like characteristics, which warrant further examination. (3) Although Vietnamese learners possess a conceptual awareness of aspiration, psychological factors often lead them to consciously overemphasize or underemphasize the degree of aspiration. Consequently, their production of Chinese aspirated sounds tends to be either overly exaggerated or insufficiently aspirated. (4) The standard deviations of VOT means among Vietnamese learners are larger than those of native Chinese speakers, indicating greater individual variation and lower overall stability in their production of Chinese plosives and affricates.

The Representations of Traditional Culture And Ancient Chinese In The Movie "Chang'an Animation"

Achmad Marzuqi — 2026-06-02

This study aims to systematically analyze the representation of ancient Chinese culture and Classical Chinese in the animated film Chang’an, and to explore students’ comprehension of the film within a learning context. This research employs multiple data collection methods, including observation and documentation of dialogues, poetic lines, classical idioms, visual symbols, and the cultural contexts presented in the film; the distribution of questionnaires to ten students; and the application of triangulation to examine the validity and reliability of the findings. The results indicate that the differences between Classical Chinese and modern Chinese in Chang’an are primarily reflected in personal pronouns, polite expressions, expressions of friendship, leave-taking, and apologies. The Classical Chinese used in the film is characterized by syntactic ellipsis and structural compactness, frequently omitting subjects, objects, or predicates, while meaning can still be inferred from the context. In addition, the archaic elegance, parallelism, idiomatic features, and metaphorical expressions found in classical vocabulary enhance both the symbolic meaning and aesthetic value of the language, reflecting the traditional style of ancient Chinese language and literature. An analysis of character dialogues and visual narration further reveals that the distinctive cultural values of the Tang Dynasty are represented through aspects such as loyalty, hierarchical etiquette, poetic aesthetics, and traditional knowledge. Students’ responses also demonstrate that audiovisual media can enhance the understanding of Classical Chinese in a more contextualized, interactive, and meaningful manner. Therefore, Chang’an can be regarded as a pedagogically valuable medium that supports culture-based instruction in Classical Chinese.

The Use Of Pictured Comic父与子 [Fù Yǔ Zi] to Practice The Mandarin Reading Skills Of Grade X Students Of SMAN 2 Kota Malang

Restiana Putri Wulandari — 2026-06-02

The ability to master foreign languages is essential in the globalization era, and Mandarin is one of the most widely spoken languages in the world. However, many high school students in Indonesia still experience difficulties in reading Mandarin texts, particularly in recognizing pinyin, hanzi, and comprehending the meaning of a passage. This study aimed to explore the use of the illustrated comic 父与子 [Fù yǔ zi] as a learning medium to improve students’ reading skills in Mandarin. A descriptive qualitative approach was employed, with research conducted at SMAN 2 Malang involving grade X students as participants. Data were collected through classroom observations and questionnaires, supported by validated instruments consisting of observation sheets and response forms. The findings revealed that the use of 父与子 comics facilitated students in understanding main ideas, identifying character relations, recognizing humor, and grasping moral messages in the stories. The short and simple dialogues in the comic also helped students to learn new vocabulary and retell the story more easily, while the illustrations created a more engaging and interactive classroom atmosphere. Questionnaire results further confirmed positive student responses, as the majority reported increased interest, motivation, and comprehension when learning through comics. In conclusion, the 父与子 comic proved to be an effective and enjoyable medium for teaching Mandarin reading skills, with significant contributions to vocabulary enrichment and learning motivation. The study recommends teachers to apply comics as alternative reading materials, while future research may expand the scope by comparing with other visual media and exploring speaking and writing skills.

Fabric as A Cultural Language: A Comparative Study of Symbolism in Shu Brocade and Solo Batik

Dyah Tisnawati Aulia Meylana — 2026-06-02

This study examines traditional textiles as a form of cultural language by analyzing the symbols contained in Shu Brocade from Sichuan, China, and Solo Batik from Indonesia. Both types of textiles represent important cultural heritage, reflecting aesthetic values, historical development, and philosophical meanings within their respective societies. This study employs a descriptive approach with content analysis based on secondary data, namely academic journals, books, and visual documentation related to both types of textiles. The findings indicate that Solo Batik reflects Javanese cultural values through motifs such as Parang, Kawung, and Sidomukti, which symbolize strength, self-control, balance, harmony, as well as hopes for prosperity and well-being. These motifs are closely intertwined with social structures, spirituality, and the philosophy of life within Javanese culture. Conversely, Shu Brocade embodies Chinese philosophical concepts through a diverse array of motifs, such as plants, animals, geometric patterns, and mythological symbols like the dragon and phoenix. These motifs symbolize auspicious meanings, such as good fortune, harmony, strength, protection, and the balance of the universe, reflecting the relationship between humans, nature, and spirituality. Although they originate from different cultural backgrounds, both woven fabrics share similarities in their intricate production techniques, symbolic motifs, aesthetic richness, and their social and cultural functions. Both also serve as a medium for conveying cultural identity and preserving these values for future generations. This study concludes that Shu Brocade and Solo Batik are not merely artistic textile products but also meaningful cultural expressions that convey values, beliefs, and identity, thus necessitating their preservation and development to remain relevant in the modern era.

Tragedy, Memory, and Suffering : How Indonesian Readers on Goodreads Interpret Yu Hua’s Cries in the Drizzle

Elizabeth Irene Hartanto — 2026-06-02

This study investigates how Indonesian readers interpret tragedy, memory, and suffering in Yu Hua's novel Cries in the Drizzle (Indonesian translation: Tangis di Rinai Gerimis). While Yu Hua is widely read in Indonesia, no prior research has specifically examined Indonesian readers' spontaneous reception of this novel. The study employs a qualitative reader-response approach combined with thematic analysis. Data are collected from 16 self-identified Indonesian reader reviews on the Goodreads platform, selected through purposive sampling based on self-disclosed location or identity. Reviews are analyzed using Braun and Clarke's (2006) six-phase thematic coding framework to identify recurring interpretive themes. Three major findings emerge. First, Indonesian readers strongly connect the novel's depiction of family dysfunction and childhood trauma to their own cultural understanding of suffering, often expressing emotional catharsis through words like "cried," "heartbroken," and "sad." Second, readers demonstrate cultural bridging, interpreting the novel's tragedy through both Chinese cultural logic (filial piety, familial duty) and Indonesian local contexts. Third, readers express mixed evaluations, appreciating Yu Hua's literary craftsmanship while critiquing the slow pacing and, in some cases, the Indonesian translation quality. This study concludes that Indonesian readers receive Cries in the Drizzle not merely as a foreign literary work but as a text that resonates with universal human experiences of family, memory, and loss. The findings contribute to the limited body of research on the reception of contemporary Chinese literature in Southeast Asia and demonstrate the value of spontaneous online reviews as data for cross-cultural reader-response studies.