EALC

Introduction to the Chinese literary language from the first millennium B.C.E. to the end of the imperial period. While surveying a variety of literary genres (such as, philosophical and historical texts, poetry, and essays), focus is on grammatical structures and translation methods.

Introduction to the Chinese literary language from the first millennium B.C.E. to the end of the imperial period. While surveying a variety of literary genres (such as, philosophical and historical texts, poetry, and essays), focus is on grammatical structures and translation methods.

Introduction to the Chinese literary language from the first millennium B.C.E. to the end of the imperial period. While surveying a variety of literary genres (such as, philosophical and historical texts, poetry, and essays), focus is on grammatical structures and translation methods.

The late-nineteenth and early twentieth centuries saw the intensification of nationalist and anti-colonial movements in Asia. What understandings of imperialism did these different movements develop? How and why did those movements take such divergent paths in their anti-colonial struggles? And despite these divergences, what similar political, social, and economic trends animated them? This class will explore the connections and disparities between emergent nationalisms in India, China, and Japan. Instead of accepting distinctions between East and South Asia or between colonialism and semi-colonialism as proof of incomparability, this class will use the differences between these three countries to develop a comprehensive understanding of the various ways that societies responded to the threat of foreign rule and encroachment. By reading a combination of primary and secondary sources, students will discover the indelible influence that resistance to imperialism had on the development of nationalist thought in these three societies, even as that resistance took on increasingly different forms as time passed. Beginning with efforts in the late-nineteenth century to categorize their position in a global hierarchy vis-à-vis the Western powers, this course then tracks the ways that Japanese, Indian, and Chinese nationalisms took on similar shapes in different contexts before rapidly diverging in the early twentieth century.

This course will consist of the close reading and discussion of primary texts (in translation) of the Chan and Zen Buddhism of China and Japan, with a few secondary descriptions of Zen institutions and cultural influences. This will be done both with an eye to the historical development of these schools of thought and practice within the context of East Asian Buddhism in general, and for whatever transhistorical valences we care to derive from the texts.

Timed to coincide with the Busan Biennale's Chicago Chapter, a series of events and exchanges with artists and organizers of the project, this interdisciplinary class will examine the context of the biennale and respond to works in the show-- giving special attention to the interplay between sound, text, and image. Using Russian composer Modest Mussorgsky's Picture at an Exhibition as inspiration, artists, musicians, and writers from South Korea and around the world were invited to respond to both the city of Busan and to each other's work. Similarly, we will likewise read, listen, and look at the work and create projects while considering our own context here in the city of Chicago. Students will be asked to complete one short writing assignment, one short creative piece, and develop a larger project. Weekly reading assignments will be discussed, drawing mainly from the Biennale reader and other artist writings that will guide our thinking about artistic practice across mediums and the nexus of artistic writing and conceptual art more broadly. What kind of artworks will emerge from this encounter with an international biennale? What is the meaning of interdisciplinarity and experimental form when conventional forms of exhibition making that have been so upended by the pandemic? These are just a few of the questions that will guide our inquiry during the seminar.

This course introduces students to the history of the Cold War through the comparative study of its front lines: divided Korea and Germany. Germany and Korea shared little in common—culturally, geopolitically, and historically—before 1945. And yet for both nations, the end of the Second World War and the onset of the Cold War brought with it the near parallel division of their societies into two mutually antagonistic states, each allied with the opposing ideological camp. To what extent did the experience of division and marginality in the bifurcated world order give both Germanys and Koreas simultaneously unique and yet similar experiences of the conflict? To answer this question, we will examine how the Cold War shaped conflicts over culture, consumption, and power in all four states while following how each positioned themselves on the international stage vis-à-vis each other, the superpowers, and the "Third World." This course requires neither background knowledge of Korean or German languages, nor these regions' histories, nor previous coursework in history.

This course surveys new archaeological evidence for the early development of Chinese landscape representations from the 5th century BCE to the 10th century CE, and explores the relationship between such representations and various cultural and religious trends. Possible topics include the origins of landscape representation, religious significance of landscape images, construction of landscape environment, and landscape aesthetic and the notion of transcendence. Students are encouraged to explore these and other topics, and are expected to produce papers based on focused research.

Icons belong to the most important category of sacred objects in Buddhism, and they were indispensable for transmitting the religion across East Asia. The ontological status of icons, however, remained polemical throughout most of the religion’s premodern history. While scholars in religious studies have since the 1960s been attentive to the ritual and cultic functionality of Buddhist icons, art historians did not move past style-oriented methodologies and fully engage Buddhist icons as such until the 1990s. This course investigates different methodologies devised by scholars in the past to study Buddhist icons with various theoretical premises and from diverse historical perspectives and focuses. We will pay particular attention to how the field, Chinese Buddhist art history, bears those different approaches to Buddhist icons in its development of the past decades.