Undergraduate

Combining close reading and viewing with historical surveys, this seminar examines an assortment of popular literary and television dramatic texts whose production involved female writers and directors of modern or contemporary Korea. Its aim is to explore the ways in which the gendered and generational identity of the textual producers contribute to generating notable  imprints within the chosen genre in question, responding to the social, cultural, and political calls that arise from their own present time. The texts include, among others, prose fictions by Na Hye-sŏk (1897-1948), Park Wan-sŏ (1931-2011), Han Kang (1970- ), and Cho Nam-joo (1978- ) and television drama series such as The Hourglass (1995; written by Song Jina), Mr. Sunshine (2018; written by Kim Eun-sook), The Red Sleeve (2021 dir. by Chŏng Chi-in; original novel by Kang Mi-kang, 2017), and My Liberation Notes (2022; written by Park Hae-yeong). No Korean proficiency is required.

This course explores the possibility of listening closely to Korean popular music through literary fiction. Each week students learn about the histories and cultures of a different Korean musical genre (minyo, trot, military songs, rock, folk, K-pop, etc.) from the Japanese colonial era (1910-1945) to the present. The class engages with music through celebrated and lesser-known works of modern and contemporary Korean fiction, films, and critical essays on media, popular culture, and listening. Guiding these inquiries, we consider how popular songs intersect with, inform, or diverge from modern Korea's history of political upheaval, rapid modernization, and mass social movement; and the ways in which popular musical languages, cultures, and histories inform understandings of literary style, form, and narrative. It is expected that upon completion, students will be able to articulate critical and informed responses to such scholarly discussions as those surrounding cultural hybridity, collective memory, and the power of song; and apply the interdisciplinary and intermedial approaches they've learned in class to their understandings of popular song cultures more broadly. All readings are in English. No prior knowledge of Korean is necessary.

In this course we will explore the full range of Japanese books including both manuscripts and printed books ranging from daunting Chinese texts to beautiful illustrated books. We will also be looking at printed maps from the Edo period (1600-1868) and single-sheet ephemera, and we will be considering questions such as the role of censorship, the differences between wood-block printing and typography and why people continued to produce manuscripts during the age of print. We will mostly focus on materials produced in the Edo period and the Meiji period (1868-1912), ending up with the introduction of newspapers and magazines in the 1860s. There will be images available on the course website, but we will also be handling and closely examining books and manuscripts from the Regenstein Library and from my own collection. If you have never seen an old Japanese book before, you will learn how to make sense of the layout and organisation of a premodern Japanese book and to appreciate the craft and design skills that went into their production: even if you can’t read them, they have beauty and appeal as hand-made artefacts. Some of the sessions in the course are accessible to those with no knowledge of Japanese but since script choice and calligraphy inevitably need to be discussed as well, those without any knowledge of Chinese characters will be at a disadvantage.

This course explores the history of one of the world's largest cities from its origins as the castle town of the Tokugawa shoguns in the early seventeenth century, to its transformation into a national capital and imperial center, and concludes in the postwar era as Tokyo emerged from the ashes of World War II to become a center of global capital and culture. Our focus will be on the complex and evolving interactions between the natural and built environments of the city and politics, culture, and social relations.

What do we mean when we talk about participatory culture in Japan? This course will explore this question through the lenses of film, television, and fan studies, focusing on the participatory nature of each medium. Material will build on itself both thematically and chronologically throughout the quarter, and include readings that explore participatory/fan culture in both Japan-specific and broader global contexts. Students will be introduced to multiple theories and reading practices for each media form, and encouraged to reflect on their own consumption habits.

How does Spirited Away reflect teachings of Japanese Buddhism and Shinto? Or what about Neon Genesis Evangelion? What can pop culture tell us about religion? In this course, we will consider what Japanese religions are (and are not) by looking at their representations in popular cultural forms of past and present. Sources are drawn from a range of popular cultural forms including anime and manga, but also literature, artistic performances, visual arts, and live-action movies. The course covers foundational aspects of Japanese religious life through non-traditional sources like Bleach, The Tale of Genji, and Your Name. At the end of the course, students will be able to speak to the great diversity of religious practices and viewpoints in Japan, not only its centers but also its peripheries and minorities. Meanwhile, we will consider broader questions about the complex connections between religion and popular culture. No prior knowledge of Buddhism, Shinto, or Japanese history is expected.

In this seminar we will explore the intellectual history and social contexts of fundamental motifs of Buddhist thought in, especially but not exclusively, premodern Japan. Eschewing narrow sectarian boundaries, we will focus on the four traditions of the Lotus sūtra, the Pure Land, the tantric teachings and Zen construed inclusively as trans-sectarian sources of religious meaning and models of cultivation. Building on an initial exploration of the wider East Asian context of Japanese Buddhism, we will deepen our understanding of these four traditions through a careful examination of primary sources in translation. The course will also incorporate field trips to Japanese Buddhist groups in the Chicago area.

From the Satipaṭṭhāna sutta of the Pāli canon to the “mindfulness” boom of recent years, Buddhism and meditation often appear inseparable. The aim of this seminar is to historicize and critically question this seemingly natural intimacy, for while it certainly cannot be denied that the various Buddhist traditions have always had on offer a plethora of techniques for mental (and physical) cultivation, it is far from clear how or even if all these could be subsumed under the in its current usage relatively recent category of “meditation”. Drawing on Buddhist meditation literature from various traditions, historical periods, and literary genre, in this seminar we will take up a twofold question: First, how has the encounter with Buddhist techniques of cultivation shaped the modern understanding of “meditation”, and second, up to which extend, and at what cost, has this very modern understanding conversely conditioned us to see Buddhism as a “meditative religion” par excellence?

The goal of this course is to read and explore primary sources (in classical Chinese) in Daoist philosophical thought written after the founding documents of the classical period (i.e., the Daodejing and Zhuangzi). Texts to be read will most likely be selected from such sources as the Liezi 列子，the Yinfujing 陰符經，and the Guanyinzi 關尹子 （文始真經).

Philosophical activity across cultures and times has been closely associated with the management of affective states. One common goal is to minimize negative emotions by changing how events are interpreted and appraised. This course will focus on three strategies that appear across different traditions. The first argues that events are outside of our control, in some cases appealing to fate but in other cases appealing to chance. The second strategy is a skeptical approach that attacks our ability to judge any event as bad or good. The third strategy undermines the ontological status of the kinds of things we become attached to, either by rejecting the ultimate reality of individual substances or arguing that diverse things form a single whole. All of these strategies appear prominently in the classical Chinese text the Zhuangzi. The core of this course will consist of a close reading of parts of the Zhuangzi, considering these strategies as they intersect with and shed light on its various philosophies. We will also read in a comparative context. The other traditions used will be guided by student interest, but the most likely choices would be Stoicism and Epicureanism (for the first strategy), Sextus Empiricus (for the second), and arguments appearing South Asian Buddhist philosophies (for the third). Aside from better understanding the Zhuangzi, the goal of the course is to consider how similar strategies function in significantly different cultural contexts.