Graduate

What does "censorship" mean? Specifically, how does the censorship of literature work in contemporary China, and what are its goals? How does censorship relate to the selective remembering of history, to processes of linguistic unification, to questions of morality and politics, and to the respect for minorities and subaltern groups? Guided by these broad questions and combining theoretical readings and case studies, this class aims to develop a nuanced approach to literary censorship that takes into account the constraints and limitations that always attend to the creation and circulation of literary works--in China as elsewhere.

This is intended to be a reading course in the Shang shu 尚書 or Venerated Documents, also known as the Shu jing 書經or Classic of Documents, traditionally considered to be the second of the Chinese classics (no matter how many classics are included). The contents run the gamut from royal proclamations to ministerial advice, and purport to date from the time of Yao 堯 through the early Eastern Zhou period. For more than two millennia, the text has been the focus of China’s most celebrated textual scholarship, both because of the interest of its content and also because of its inclusion of two different types of documents: what are termed “New Text” chapters and “Old Text” chapters. We will consider both the received text and also recently discovered manuscript versions of several chapters.

In this course, pictorial representations are approached and interpreted, first and foremost, as concrete, image-bearing objects and architectural structures-as portable scrolls, screens, albums, and fans, as well as murals in Buddhist cave-temples and tombs, and relief carvings on offering shrines and sarcophagi. The lectures and discussion investigate the inherent features of these forms, as well as their histories, viewing conventions, audiences, ritual/social functions, and the roles these forms played in the construction and development of pictorial images.

An examination of interpretations of Japan, Japanese thought, religion, culture, art, society from the sixteenth through the twenty-first centuries with a particular focus on critical readings of Orientalism, Buddhist historiography, modernization theories, and indigeneity.

Introductory studies of Chinese history and culture often ignore religion, treating Confucius's alleged agnosticism as representative of mainstream culture. But ideas about supernatural entities—souls separated from bodies, ancestral spirits, demons, immortals, the vital energies of mountains and rivers, etc.—and practices aimed at managing those spirits were important elements in pre-1949 life. Spirits testified in court cases, cured or caused illnesses, mediated disputes, changed the weather, and made the realm governable or ungovernable. After declining (1950–’70s), at least in public, various kinds of worship are again immensely popular, though usually in altered forms. This course traces changes in the intersection of ideas about spirits and daily social practices, focusing on attempts to "standardize the gods," resistance to such efforts, and the consequences for cohesion, or lack of cohesion, across classes, genders, territory, ethnicity, and other differences. The ways in which religion has been intertwined with attempts to define communities and claim rights within (or over) them will be a central concern. Another central theme is what "religion" means as a category for understanding late imperial and modern Chinese history—an issue that will take on very different valences when we look at the 20th century, in which Western models of what religions should look like became increasingly influential among would-be secularizers and many religious activists as well.

This seminar offers an overview of the development and history of the “book” and its physical forms, broadly conceived, in East Asia from ancient times to the present. Drawing on recent scholarship, selected primary sources, and rare books housed within the library system, this course familiarizes students with the evolution of the book and methods of book production in China, Korea, and Japan, the principles and practices of material bibliography and the application of such to physical and digital objects, and selected topics salient to the social and cultural meanings of books: authorship, the book trade, reading, censorship, and more. Assignments include a short paper, a short presentation, and a longer final paper. All readings in English, but knowledge of East Asian history or languages helpful.

The aim of this course is to introduce a history of contemporary art from China since the 1970s. The course begins with a brief overview of modern art activities in China during the early 20th century along with art production amidst the Cultural Revolution era (1966-1976), under Mao. The course will then focus on contemporary avant-garde movements during the 1970s and 1980s, the response to urbanization in art at the onset of the new millennium, the influence of globalization since 2000, and a new generation of young artists from China as well as Chinese diasporic artists working transnationally. Critical attention will be paid to ways in which artists respond to the obsolescence of physical environments and interactions due to major investments in robotics, AI technologies, online communication platforms, and virtual monetary exchange applications. In addition to working with important secondary texts focused on contemporary art from China, students will have the unique opportunity to examine primary documents that I have obtained during my ongoing research activities in China. These include video footage, photo documentation, archival materials, and real artworks. We will also access Gao Minglu's extensive archives of contemporary Chinese art documents.

Edmund Buckley was one of the first recipients of the Ph.D. degree from the University of Chicago. His dissertation was published in 1895 with the title Phallicism in Japan. As a practitioner of the new “science of religions,” Buckley carried out his field work in Japan and collected hundreds of objects to supplement his historical and comparative research with copious examples of contemporary material culture. These talismans, ritual objects, amulets, maps and guides to Buddhist and Shinto pilgrimage sites, portable statues, shrines for traveling and the home, as well as numerous folk curios (such as phalli and kteis related to his research), were kept by the University of Chicago and, over the decades, were moved many times. They now, or much of them at any rate, reside within the Smart Museum of Art. They are uncatalogued, merely stored there, and are largely unknown.

This course will be an examination of the discipline of religionswissenschaft as it was applied to Japan and the religious worlds therein. Buckley’s work, as well as the remnants of his collection, will serve as a major resource. Moreover, close readings of the works of Anesaki Masaharu, Hori Ichiro, Joseph Kitagawa, Helen Hardacre, and others, will enhance our understanding of the history of this discipline as applied to the religious world of Japan.

In terms of their teachings and practices the Ch’an / Son / Zen  (禅) Buddhist traditions in China, Korea, and Japan differed significantly in their respective cultural parameters even as they shared a Sino-centric body of textual materials. The translation of these shared materials into English occurred sporadically from as early as the late 19th century but was first systematically addressed in Kyoto from the 1960s. Ruth Fuller Sasaki created a Zen practice center and a translation atelier at the Ryosen-an (龍泉庵), a cloister within the Daitokuji (大徳寺) Zen Buddhist temple complex, and staffed it with both leading scholars of Buddhism in Japan and a new generation of Zen practitioners and writers from the West. Many of the original materials from these efforts are now held in the Special Collections of the Regenstein Library here at the University of Chicago.

This course will be an examination of how Zen was initially interpreted, translated, and transmitted from the Sino-centric to the Anglophone world in the mid-20th century. The focus will be the actual notes and draft translations of key Zen texts as worked on at the Ryosen-an and its team of Japan-based scholars and practitioners. Supplemental readings will contextualize these efforts more generally with the history of Zen in the West.

This course will focus on Confucius, both the historical man and the legendary figure, and on the Analects, which purports to record his teachings. Through readings of the Analects in translation and of secondary scholarship in English, we will seek to determine to what extent it is possible to understand the relationship between the man and the book. For students with a basic knowledge of classical Chinese, extra sessions will be arranged to read the Analects in Chinese.