What are the sample expositive essays with one or more elements such as description, narrative, expression, and argumentation under the 11th-grade Literature curriculum in Vietnam?

What are the sample expositive essays with one or more elements such as description, narrative, expression, and argumentation under the 11th-grade Literature curriculum in Vietnam?

Below are some sample expositive essays with one or more elements such as description, narrative, expression, and argumentation under the 11th-grade Literature curriculum in Vietnam that students can refer to:

Sample 1: Tug of war

Vietnam has long been known as a country with many unique folk games that deeply embody the national cultural identity. One of these games we cannot fail to mention is the folk game tug of war.

No one knows exactly when this game was formed, only that it was found in ancient carvings on tombs in Egypt. This proves that humans thought of this game very early, around 2500 BC. The ancient feudal nation of China also favored this game, particularly during the Tang and Song dynasties. The famous Olympics nation, Greece, also selected tug of war as a sport from 500 BC. Tug of war with sheep and goat skin was a form Western European captains thought of to exercise and entertain their sailors from 1000 years AD. Tug of war has long been popular in Vietnamese culture.

A tug of war consists of two evenly matched teams. The equipment usually involves a rope, with a colored towel tied in the middle, situated directly over a marked line. Upon receiving the signal whistle from the referee, both teams will strive to pull the rope, and if the colored towel shifts to one side, that team wins. In some areas, a bamboo pole placed in the middle of the court replaces the red towel. If no rope is available, participants can pull directly using their hands. The first two players intertwine their hands tightly, and the others wrap their arms around the waist of the person in front, continuing until the last person. When in position, the side whose formation breaks loses. To determine victory, the game usually requires three rounds, with each round's duration depending on the team's pulling strength.

The folk game tug of war is favored nationwide, organized regularly from small scales like schools, classes, localities to annual tug of war competitions. It was once an Olympic sport. Currently, this game is part of the international tug of war association in European countries such as the Netherlands, England, and Sweden. It is a game and a sport that strengthens health, endurance, and the team spirit of the players. Besides, this sport is also fun due to the cheering for the teams and the humorous falls.

Cultural activities have, are, and will greatly influence and bring joy and spiritual value to Vietnamese people. Let us preserve and promote the beauty of the tug of war game in particular and other folk games in general, so that Vietnam can not only develop and integrate but also maintain its rich national cultural identity.

Sample 2: Non La

The Non La is a simple, familiar image associated with the traditional ao dai of Vietnamese women. From past to present, mentioning Vietnam, foreign tourists often praise the image of the Non La – symbolizing the elegance of Vietnamese women. The Non La has entered folk songs, and proverbs, and formed part of Vietnam's longstanding spiritual culture.

Do you still remember in the poetry of Nguyen Khoa Diem, the Non La appears very naturally and intimately:

Why don't you come back to my hometown

To see me making the first Non La

Hands arranging leaves, hands threading the hat

Sixteen rims, sixteen moons rise

(Sao anh không về thăm quê em

Ngắm em chằm nón buổi đầu tiên

Bàn tay xây lá, tay xuyên nón

Mười sáu vành, mười sáu trăng lên)

Thus, the Non La is seen as a symbol of the gentleness, simplicity, and friendliness of Vietnamese women from time immemorial.

The Non La was born a long time ago, approximately 2500-3000 years BC. Its formation and preservation throughout the ages has proven its sustainability. The Non La is present in the daily life of the Vietnamese people, especially women; it appears in the stories of grandmothers, mothers and in competitions to preserve cultural beauty.

Speaking of Non Las, people will immediately think of Hue, the poetic, charming land with ao dai and the charming smile of Hue girls. Hue is also known as a place producing many famous Non La brands. Village crafts making Non Las in Hue attract numerous tourists who visit and choose this product as a souvenir.

To make a beautiful Non La, the maker needs to be meticulous from selecting materials, drying the leaves, to sewing each stitch. People still say making a Non La requires a whole heart for this reason.

Non Las can be made from palm leaves or coconut leaves. Each type of leaf brings different characteristics to the product. Usually, coconut leaf hats originate from the South due to the abundant coconut trees. However, products made from coconut leaves are less beautiful and delicate than those from palm leaves. Palm leaves are softer and more durable. When selecting leaves, one must choose those that are green, glossy, and have visible veins to create highlights for the product. The process of drying the leaves to soften them for ease takes about 2-4 hours, making the leaves soft and flat.

Making the rim is a crucial step in creating a firm frame for the product. The maker needs to select bamboo strips that are soft and flexible. When shaving the bamboo, meticulous work is required until it can bend without breaking. Then the maker will curve them according to sizes, from small to large, to form the framework for the Non La into a perfect cone shape.

After framing and preparing the leaves, one moves onto sewing the hat. This step ensures the frame and leaves stick together tightly. Makers often sew with thin, but durable, transparent nylon.

Once the hat is sewn, oil is applied to create a shiny surface and dried to allow the oil to adhere, ensuring durability in the sun and rain.

Traveling across Vietnam, there's nowhere we don't see the presence of the Non La. It is a companion to women, protecting them from the sun or rain. Besides shielding from the elements, the Non La appears in cultural performances, reaching friends worldwide. The cultural beauty of the Non La is something that needs preserving and protecting. Mentioning the Non La, we immediately think of the ao dai, as these two items are always paired, creating a unique feature of Vietnamese women from ancient times.

To keep the Non La durable over time, users must skillfully apply oil regularly to prevent damage or fraying.

The Vietnamese Non La is a product of the Vietnamese people, enhancing the beauty of women and affirming the long-standing existence of this product.

Sample 3: Banh chung

Banh chung is an indispensable symbol during the traditional Tet festival. From ancient times to now, every Tet, families prepare large pots of banh chung to welcome the new year. In the hearts of everyone, banh chung is a dish symbolizing reunion, simplicity, and warmth.

It is traditionally believed that Tet's banh chung originated a long time ago, believed to date back to the 6th Hung Kings, becoming a symbol of traditional Tet in Vietnam. People believe that banh chung symbolizes the completeness of heaven and earth and the family reunion after a year of bustling work.

Whether in the North, Central, or South, banh chung is an essential dish during Tet. It's perhaps the most anticipated dish, as Tet is the perfect time to relish its delicious, warming taste.

The ingredients for banh chung are simple and easy to prepare; combined with the skillful hands of the baker. The main ingredients include glutinous rice, dong leaves, meat, and finely mashed mung beans. Each ingredient is carefully selected to create the most delicious dish. For glutinous rice, people choose round, unmoldy grains to smell the fragrant scent when cooked. Mung beans must be the beautiful yellow type, cooked thoroughly and mashed as filling. People opt for pork belly or lean meat mixed with ground pepper and chopped onions. An equally crucial ingredient is dong leaves for wrapping. In some regions, banana leaves are used, but dong leaves are more common.

Dong leaves should be dark green, with firm veins, and not wilted or torn. Torn leaves can be lined with intact leaves for wrapping. Washing, trimming the stalks is also important as clean dong leaves ensure hygiene and aroma post-cooking.

After preparing all the materials, comes the wrapping. Wrapping banh chung requires meticulousness and dexterity to create a square cake to offer ancestors. Some people need a square mold to wrap, but others only need to fold the four corners of the dong leaf to wrap. Encompassing the mung bean filling and meat is a thick layer of sticky rice. Prepare strings to wrap, holding the contents tightly, preventing them from loosening during cooking.

The cooking process is considered crucial. Typically, people cook the cake using dry wood in a large pot, filled with water and cooked for about 8-12 hours. Such long cooking time ensures even cooking and stickiness of the cake. When the water boils, the aroma of banh chung wafts through the air, encapsulating the Tet atmosphere.

After cooking, the cake is taken out, rolled back and forth to create firmness when cut and prolong its shelf life.

For the New Year meal, a plate of banh chung is a precious addition. Additionally, on the Tet altar, a pair of banh chung to worship ancestors is a time-honored custom. Banh chung symbolizes the fullness of heaven and earth, warm and good-natured attributes of human hearts.

During Tet, many use banh chung as gifts, symbolizing sincerity and a complete blessing.

Each Tet, the aroma of banh chung signals the warmth of family. Banh chung is a Tet symbol irreplaceable by any other cake, as it carries the tradition and beauty of the Vietnamese people that should be preserved and respected from the past, present, and future.

Note: Information is for reference only!

What are the sample expositive essays with one or more elements such as description, narrative, expression, and argumentation under the 11th-grade Literature curriculum in Vietnam? (Image from the Internet)

What lessons does the 11th-grade Literature curriculum in Vietnam have?

According to sub-item 2 of Section 6 in the General Education Curriculum for Literature issued with Circular 32/2018/TT-BGDDT, the number of lessons of the 11th-grade Literature curriculum in Vietnam is as follows:

At the upper secondary level, each grade has an additional 35 lessons for academic topics.

Thus, the 11th-grade Literature curriculum in Vietnam has a total of 140 lessons.

What are the responsibilities of Literature teachers in assessment of 11th-grade students in Vietnam?

According to Article 19 of Circular 22/2021/TT-BGDDT, the responsibilities of Literature teachers in assessment of 11th-grade students include:

- Conduct regular assessment; participate in periodic assessment as per assignment of principals; record or fill scores and assessment categories in student monitor and assessment records (by classes) and student monitor and assessment records (of teachers).

- Calculate average subject scores (for subjects assessed via both feedback and scores); consolidate assessment category (for subjects assessed via feedback) by semester and school year; directly record or fill scores and assessment categories in student monitor and assessment records (by classes), student monitor and assessment records (of teachers), and education records.

- Provide feedback on training results of students under Point b Clause 1 Article 8 of Circular 22/2021/TT-BGDDT to class advisors.