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Course Criteria
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3.00 Credits
Spring 2007. RACHEL STURMAN. (Same as Gender and Women's Studies 259 and History 259.)
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3.00 Credits
d.Violence and Memory in Twentieth-Century India
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3.00 Credits
d-IP.Hindu Religious Literature
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3.00 Credits
d-IP.Hindu Religious Culture
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3.00 Credits
d-ESD,IP.Theravada Buddhism
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3.00 Credits
Fall 2006. VYJAYANTHI SELINGER. Examines the "rhetoric of confession" in Japanese literature. From the diaries of courtladies in classical Japan to the modern I-novel, Japanese authors have used the first-person narrative to tell stories and provide commentary on the nature of story-telling. Situates these stories in historical context and examines their relationship with discourses of gender, individualism, and modernity. No previous knowledge of Japan is assumed and no knowledge of Japanese is required.
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3.00 Credits
Fall 2007. VYJAYANTHI SELINGER. From possessing spirits and serpentine creatures to hungry ghosts and spectral visions, Japanese literary history is alive with supernatural beings. The focus of study ranges from the earliest times to modernity, examining these motifs in both historical and theoretical contexts. Readings pose the following broad questions: How do representations of the supernatural function in both creation myths of the ancient past and the rational narratives of the modern nation What is the relationship between liminal beings and a society's notion of purity How may we understand the uncanny return of dead spirits in medieval Japanese drama How does the construction of demonic female sexuality vary between medieval and modern Japan Draws on various genres of representation, from legends and novels to drama, paintings, and cinema. Students gain an understanding of the different representations of these fantastic beings in Japanese literature, and develop an appreciation of the hold that these creatures from the "other" side maintain over our cultural and social imagination.
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3.00 Credits
Fall 2006. SARA DICKEY. Explores Indian films, film consumption, and film industries since 1947. Focus is on mainstream cinema in different regions of India, with some attention to the impact of popular film conventions on art cinema and documentary. Topics include the narrative and aesthetic conventions of Indian films, film magazines, fan clubs, cinema and electoral politics, stigmas on acting, film-makers and film-making, rituals of film-watching, and audience interpretations of movies. The production, consumption, and content of Indian cinema are examined in social, cultural, and political contexts, particularly with an eye to their relationships to class, gender, and nationalism. Attendance at weekly evening screenings is required. (Same as Anthropology 232.) Prerequisite: Any one of the following: Anthropology 101, Sociology 101, Film 101, Film 202, or permission of the instructor.
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3.00 Credits
SPRING 2007. SARA DICKEY. (Same as Anthropology 248 and Gender and Women's Studies 246.)
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3.00 Credits
Fall 2007. SHUQIN CUI. Explores the changing nature of modern China from interdisciplinary perspectives: history, literature, documentary films, and cultural studies. Investigates the process of nationbuilding and destruction throughout the nineteenth and twentieth centuries by using history as the primary framework and written/visual representations as analytical texts.
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