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Course Criteria
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3.00 Credits
PQ: Reading knowledge of modern Japanese. Students in this workshop read and translate into English a range of Japanese poetry written from the late nineteenth century to the present. Although we read some translation theory as well as acquaint ourselves with standard accounts of the history of modern Japanese poetry, our emphasis is on generating the questions ourselves through the primary activity of wrestling with the transformation of a set of words living in one language into another. We work collectively and separately. Students propose poems for collective translation and for individual projects. N. Field. Spring.
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3.00 Credits
Quite a few Japanese writers and filmmakers have treated the popular genre of love story. Their stories often deploy the high concept of "pure love" (jun'a i) as a disguised form of social protest. By analyzing each love story in conjunction with its broader social and cultural problems, this seminar tries to articulate the historical specificity of Japanese love story as a genre and its multiple ideological ramifications. A working hypothesisis that love story might have been one of the most effective and slippery ways of making sense of the historical contradictions of modern Japan. Stories and films examined include Ozaki Koyo's Demon Gold, Higuchi Ichiyo' s Takekurabe , Soseki ? And The n, Tanizaki 's Nao mi, Kats uei Yuas a's Kan' nani, Mizogu chi's Sisters of the Gion, Tachi hara's Wind and Stone, O shima's Street of Love a nd Hop e, Sadao Yu kisa da's GO, and Kenji Uchida's Stranger in Myself. Supplementary theoretical readings will be added. All readings are i n English. J. Yoshida
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3.00 Credits
Knowledge of Korean not required. This course examines major texts of Korean narrative to better understand the way in which Koreans have made sense of their experience and formed their cultural identities. We read excerpts from two of the oldest Korean historical writings; classical stories of different genres (e.g., court narrative, P'ansori verbal art, and biography in hanmun [classical Chinese]); and works by the early twentieth-century novelists and historians. J. Hwang. Spring.
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3.00 Credits
Knowledge of Korean not required. This course is a close reading of selected Korean poems, dating from the period from ancient Silla to the twentieth century and emerging from Korean forms of shamanist, Buddhist, Confucian, and modernist cultures. The goal is to offer an overview of Korean poetic tradition and to examine some of the rhetorical conventions central to modern Korean culture. Texts in English. J. Hwang. Autumn.
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3.00 Credits
This course examines canonical works of modern Korean literature, painting, and cinema in the context of Korea's negotiation with Japanese colonialism and nation-state building. Topics include Korea' s encounter with Western literature and art, the experience of colonial modernity, aesthetic conceptions of Korean identity, rediscovery of Korean landscape, and the invention of a national tradition . J. Hwang. Winter.
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3.00 Credits
Knowledge of Korean not required. With the presumption that South Korea' s history of democratization has been thematically integral to the development of dramatic art in South Korea, this course introduces a group of representative cinematic and television dramatic texts. We also discuss the ways in which various historical facts and discourses on democracy are interwoven into the workings of plot structure and image-making of these popular genres . K. Choi. Spring.
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3.00 Credits
Knowledge of Korean not required. This course examines the intersections between gender; the genre of autobiography; and historical, cultural, and political contexts of modern Korea. Theoretical writings on autobiography and gender, as well as selected Korean autobiographical writings, are introduced. We also address the question of whether and to what extent these autobiographical writings lend a view of Korea's national history. K. Choi. Winter.
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3.00 Credits
This course considers the intimate if often reluctant involvement of cinema with politics in three periods of modern Chinese history. We examine the attempts by the Communist Party and Nationalist state to use the nascent Chinese cinema for ideological indoctrination in the 1930s, the increasingly total ideological and aesthetic control of cinema during the Socialist era from 1949 onward, and the critique of that totalitarianism and explorations of previously-proscribed techniques and subjectivities in the post-Socialist cinema of the 1980s. We explore the interweaving of politics and aesthetics. We also read some of the latest scholarship that attempts a less elitist look at Chinese cinema and mass media. S. Xiang. Spring.
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3.00 Credits
Knowledge of Japanese not required. This class traces the deployment of cinema as both national culture and "optical weapon" during a time of total war. We study the Film Law of 1939 and the "national policy films" a nd "peop le's films" that attempted to raise the aesthetic and technical level of cinema in Japan in order to compete with the memory of Hollywood films both at "home" and in the Asian countries occupied by Japan. The class includes films made under Japanese sponsorship in the colonies of Taiwan and Korea as well as in the puppet state of Manchuria and the occupied territory of Shanghai. We also study local sources of wartime Japanese cinema-the prewar leftist film movement, the documentary film movement, the narrative avant-garde-in the context of the broader image culture of wartime Japan. Japanese and other Asian sources discussed in a separat e section. M. Raine
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3.00 Credits
Knowledge of Japanese not required. This course surveys the rise and fall of alternatives to studio cinema in Japan between the 1950s and the 1970s. Topics include the Nikkatsu and Shochiku new waves, union-based oppositional cinema, experimental film making, radical documentary, Cahier's style auteurs, the Shochiku new wave, experimental theater, the Shinjuku and Shibuya film-theatre subcultures, and the institutional roles of the Sogetsu Art Center and the Art Theatre Guild. Optional Japanese discussion sessions offered. M. Raine. Winter.
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