EALC

This graduate seminar examines key English-language scholarship on Korean film and media from the recent decade. The goal is to cultivate critical insight into the theoretical frameworks, critical debates and historical inquiries of this evolving field. Core readings will include major monographs and edited collections, alongside select critical essays as well as relevant film and media objects.

In an era of globalization and rapid technological innovation, “adaptations” are becoming increasingly widespread and diverse. In addition to discussions of an adapted work’s fidelity to the prior material, this advanced seminar aims to develop multiple approaches to adaptation by conceptualizing it as a process of negotiating with changes across time, space and medium. By examining a variety of selected materials including poems, short stories, novels, films, theater performances, TV series, animations, webtoons, online games and short form videos from or about East Asia, students will practice analyzing a cultural product’s narrative and form in relation to the sociopolitical contexts of its production, circulation and reception. In the course of the semester, students will de-Westernize adaptation studies while generating nuanced understandings of Korea, China, and Japan as relational constructs emerging as a result of negotiating with other cultures and wielding various technologies. All required readings will be in English, either originally or in translation, and all viewing materials will be available with English subtitles. This seminar is open to graduate students in East Asian Languages and Civilizations, Cinema and Media Studies, and the Master of Arts Program in the Humanities. Advanced undergraduate students can apply to join the course by submitting a paragraph-length description of their knowledge and experience with East Asian culture or film and media studies.

From K-pop and K-drama to K-beauty, “Korea” is spreading across the world as a brand through popular culture.However, Korean popular culture’s heterogeneous forms and styles, varying responses to different sociopolitical stakes, and constant negotiations with global agents demonstrate the need to think critically about the use of “Korea” as a category or a method. This introductory level course aims to recognize and address this issue by examining a selection of materials including film, television, literature, music and fashion from the 20th and 21st centuries that are associated with Korea. While gaining knowledge of Korea’s modernization and developing an understanding of popular culture’s involvement in and reflection of society, students will put Korea at the center to reassess the various traditions and contentions in global popular culture. All required readings will be in English and all viewing materials will be available with English subtitles. Undergraduate students of every level and major with an interest in Korea or film and media more broadly are welcome.

This seminar examines a selection of modern and contemporary Korean fiction in dialogue with East Asian and Western literary traditions and critical theory. Students analyze how Korean literature engages with and can be interpreted through literary movements and theoretical frameworks developed in other contexts, while exploring its distinctive characteristics.  Through these investigations, the course explores how linguistic, cultural, geopolitical, and ethnic factors—along with readers' individual perspectives—shape the reading experience and understanding of concepts like "national literature," "world literature," and "global literature," and ultimately, the nature of literature itself. While all required readings will be available in English, students who can read Korean are encouraged to engage with original texts at their level of proficiency.

Whether it is the tonalities and idiosyncracies of individual speech and dialogue in the polyphonic novel, the depiction of urban sounds and noises in Eileen Chang’s prose about 1930’s Shanghai, the borrowing of folk songs in political lyrics during the Mao era, or Western pop and rock music in experimental fictions from the 1980s, sound culture in its various forms and transformations has long left its imprint on modern literary imaginations. Sound is inseparable from technologies and ideologies of listening; in this course, we will use literary texts as aural technologies to approach historical sonic cultures, and read them as archives of sonic experiences. Through reading modern Chinese literary works together with the history of Chinese sound cultures, we ask: how does literature from different historical periods capture transient sounds? What can literature tell us about how sound is experienced in different historical periods? What are the strengths and limits of language as a medium of articulating aural experiences? How is the difference between sound and noise, listening and other senses, drawn in different historical periods, and what role does literature play in it?

In this course, we will survey contemporary Western Sinologists' major works concerning early Chinese civilization. For each class we will consider one major scholar who has contributed to our understanding of ancient China, reading one or more of their representative works. Scholars to be considered may include Roger Ames, Sarah Allan, William Baxter, Erica Brindley, Constance Cook, Scott Cook, Lothar von Falkenhausen, Paul Goldin, Marc Kalinowski, Maria Khayutina, Donald Harper, Martin Kern, Mark Lewis, Li Feng, John Major, Dirk Meyer, Michael Nylan, Yuri Pines, Michael Puett, David Schaberg, Roel Sterckx, Wu Hung, and Robin Yates, though not necessarily in that order. All readings will be in English. Students will also be expected to select one scholar not treated in the course, to make a class presentation and to write a term-paper introducing the scholar and her contributions to the field

What is comedy, where is comedy, and to what end? This course foregrounds the function of comedy as a critical lens on and political catalyst for social change. We will explore how comedy and laughter emerge across both media and location, centering on Mainland Chinese moving image history. Rather than studying “China” and “comedy” as pre-established entities that then interact, the course investigates how area, genre, and media each come into being through their dynamic relations.

Each week centers on theoretical readings that conceptualize the functional definition of comedy and/or media. These readings are paired with primary texts ranging from films and animation, to television shows and Internet shorts, organized chronologically from the early 20th century onwards. By the end of the course, students will have learned to (1) identify and engage a genealogy of Chinese comedy in moving image media, (2) articulate intricate relationships among area, genre, and media, and (3) produce their own critical position on the global-situated sociopolitical functions of comedy.

China's first discovery of ancient texts in a tomb took place in 279 CE, in Ji Commandery, near Weihui County in present-day northeastern Henan province. Although the tomb was opened by tomb-robbers, most of the bamboo-slip texts that had been placed in the tomb were preserved and transported to the Western Jin capital at Luoyang, where they were edited by a committee of high-ranking scholars. The texts, including especially the Mu tianzi zhuan (Biography of the Son of Heaven Mu) and the Zhushu jinian (Bamboo Annals), were an immediate sensation, and were cited and quoted for centuries thereafter, much in the way that discoveries of ancient manuscripts today have stimulated great interest. With the experience gained from editing these new discoveries of ancient manuscripts, it is an opportune moment to turn our attention anew to this first discovery of manuscripts and to try to reconstruct both the editorial process to which they were subjected and also the original structure of the texts themselves.

This will be a two-quarter course. We will begin with a consideration of the tomb, its robbing, and the work done to edit the texts. We will then move on to consider the texts themselves. In the first term, we will focus on the Mu tianzi zhuan. Then in the second term, we will move on to the Zhushu jinian.

A seminar exploring the ways that ritual practice in China has been understood as an embodied and fully sensory activity. We will read across the disciplines (of religion, art history, ethnogaphy, area studies, archaeology, etc) and examine the images and objects featured in this scholarsip, both from its perspectives and in light of theories of ritual, embodiment, and material culture.

In this course, we will survey Western Sinologists' major works concerning early Chinese civilization, from the nineteenth century through the end of the twentieth century. Each week we will consider one or two major scholars who have contributed to our contemporary understanding of ancient China, reading one or more of their representative works. Scholars to be considered will include James Legge, Marcel Granet, Henri Maspero, Bernhard Karlgren, Herrlee Creel, Peter Boodberg, A.C. Graham, K.C. Chang, Noel Barnard, David Keightley, and Michael Loewe. All readings will be in English. Students will also be expected to select one scholar not treated in the course, to make a class presentation and to write a term-paper introducing the scholar and his contributions to the field.