(This is a two-quarter course: those who sign up for autumn must also sign up for "EALC 52301 in winter quarter",) Reading and research in Japanese history, which culminates in a major seminar paper at the end of winter term.
This course systematically examines the interrelationship between the 492 Buddhist cave-chapels at Dunhuang in terms of their pictorial and architectural program, spatial relationship, construction sequence, and patronage. It is hoped that this investigation will lay a methodological basis to envision a new history of Dunhuang caves. Chinese reading ability required.
This course is intended for graduate students with research interests in Buddhism in East Asia. We will critically examine the approaches modern scholars have taken to the subject (the sources they have focused on, the methods they have employed, the kinds of things they have construed Buddhism to be) as a way to both learn the field and develop our own skills as scholars. Ability in Chinese and/or Japanese helpful but not required.
The "furusato" (rural hometown) has played an important, sometimes fraught, role in modern Japanese literature, whether as an invented tradition, as a locus of emotional attachment, or as a site of resistance against the dislocations of modernity. This course will survey a number of important modern Japanese literary texts depicting "furusato," as well as recent scholarship on the topic. It will also look at similar formations in other countries, including Germany and China. A large portion of the course readings will be in Japanese, although some selections will be provided in English.
The passion for opera throughout China during the late imperial period was not restricted to the stage but permeated the visual and material landscape of everyday life, from the court on down. Operatic characters and stories were favored as pictorial and decorative motifs across the full spectrum of visual mediums from tomb carvings and scroll paintings to popular prints, illustrated books, and painted fans, to carved utensils, ceramics, textiles, dioramas, and photographs. In preparation for an exhibition to be held at the Smart in 2014, students will research the representation of Chinese opera and its significance in a variety of visual, textual, and material forms.
This course explores the Chinese experience of urban modernity in the twentieth century, primarily through the lens of literature, cinema, and ethnographical studies. We will examine the shifting cultural connotations of and dynamics between the country and the city, and trace the ebbs and flows of urban culture from Republican Shanghai, Socialist China, to the colonial city of Hong Kong, the island of Taiwan, and back to fin-de-siècle mainland China. Central to our inquiry is the colonial origin of urban modernity and its evolution and manifestations in twentieth-century China; as an evolving constellation informed by and responding to global forces and cultural trends, as well as to the material conditions on the ground and the individual inspirations of cultural producers. The course will be divided roughly into three parts. First, we will delve into the urban milieu and material culture of Republic Shanghai under semi-colonial capitalism, and inquire the formation of vernacular modernity through its cinematic and literary representations and practices. Second, we will compare the youth cultures in socialist China and colonial Hong Kong during the cold war era. We will then continue to review the search for urban/local identities in Hong Kong and Taiwan, amid a culture of disappearance exacerbated by their colonial histories, the unresolved question of national belonging, and accelerating globalization. Third, we will return to mainland China to consider its breakneck speed of urbanization and globalization in the contemporary era. We will explore the euphoria and discontent, confusion and chaos, as Chinese people in their different social standings and geographical positions experience the brave new world of global modernity in drastically uneven terms. From New Sensationalism to postsocialist realism, melodrama to independent documentary, the figures of dandy and flaneur to migrant worker and alienated youth, this course also investigates the use of literary form and cinematic genre, and the configurations of gender and class identities, in conveying the urban experience in twentieth-century China.
This course is an experiment in rethinking what has conventionally been studied and taught as "postwar Japanese culture" as instances of Cold War culture. We will look at celebrated works of fiction, film and popular music from 1945 through 1990, but instead of considering them primarily in relation to the past events of World War Two, we will try to understand them in relation to the unfolding contemporary global situation of the Cold War. Previous coursework on modern Japanese history or culture is helpful, but not required. All course readings will be in English.
Beginning in the 1910s, Chinese intellectuals discovered a new source of cultural identity for China in the songs, myths, legends and life-ways of the countryside. Over the course of the century, various modes of representing this folk culture were enlisted to help define the nation, from the appropriation of folkloric genres for the creation of modern literary works to the critical study of Chinese history and society through the lens of folk culture, including the politicization of folklore as it was adapted for the dissemination of revolutionary ideology during wartime and afterward. Through the study of folklore itself, modern fiction and poetry, historical sources on the study of folklore, and music and film recordings, this course critically examines how folklore and notions of cultural authenticity have contributed to the construction of the modern Chinese nation.
This year's course focuses on the martial arts film in Hong Kong cinema, in conjunction with a special quarter-long series on this topic at Doc Films. We will pay particular attention to the wuxia genre, tracing the genealogy of the chivalric code in the Chinese literary and performing tradition, and examining its continuous reinvention in the films of masters like King Hu, Chang Cheh, Bruce Lee, and Tsui Hark. Recurrent issues to be examined include the representation of violence, fantasy, and nationalism; the interplay between body, film style, and technology; the performance of masculinity and femininity; and the complex interactions between the global and local in today's trans-national film culture.
What is gesture and how should we understand the aesthetic and political work it performs? How does technological medium alter the shape and significance of bodily movements? This course takes up gesture as a concept through which to explore the relationship between Performance Studies and Japanese Studies. Through close readings of literary, cinematic, and theoretical texts, we will examine a range of issues related to embodiment in Japanese culture. The centerpiece of the course will be a two-week residency by award-winning choreographer and filmaker Yasuko Yokoshi during which she will engage students as she develops her newest dance composition, which melds Kabuki and ballet. Students will develop skills of performance analysis and critical writing. Readings by Tanizaki, Sontag, Sedwick, Zeami, Lamarre, Berlant, J. Butler, A. Lippit, Kittler, Uchino.
