Spring

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.

This course will consist of close readings, in Classical Chinese, of commentarial expansions on the Yijing (Zhouyi) developing its ontological, metaphysical, cosmological, epistemological and ethical implications. Readings will include some or all of the following: the “Ten Wings” (including the “Xicizhuan”), the works of Wang Bi, Han Kangbo, Wei Boyang, Dongshan Liangjie, Shao Yong, Zhang Boduan, Zhou Dunyi, Zhang Zai, Cheng Yi, Zhu Xi, Wang Fuzhi, Ouyi Zhixu, and Liu Yiming. PQ: Proficiency in Classical Chinese required. 

This course will explore contemplative practices from nontheistic thinkers and traditions that focus on the experience of timelessness, and the relationship of these practices to each system’s conception of time, experience, knowledge, suffering, beauty and beatitude. Readings will be drawn from the works of Plotinus, Spinoza, Schopenhauer, Nietzsche, Bergson, Santayana, Tiantai Buddhism, and Dōgen.

This course is designed for students aiming to advance their Korean proficiency through close reading and analysis of selected texts from Korean short stories and novels. Students will engage in discussions, compositions, and presentations to critically reflect on these works. By exploring themes such as love, gender, family, human rights, and relationships, the course offers deeper insights into the customs, values, and beliefs that shape Korean society and culture, as well as the universal human experiences conveyed through literature.

What constitutes the materiality of film? How do we understand the "material world" in relation to cinema, and how does the film camera mediate it? What does the process of mediation look like when the goal of cinema is not solely to represent but also change the world? This course will pair theoretical readings on new materialist approaches to cinema with select case studies drawn from Chinese and Soviet revolutionary cinema. Our primary aim is twofold: to introduce students to the “material turn” in cinema and media studies, and to reflect on what the specific fields of Soviet and Chinese Film Studies bring to the discussion. We will look closely at works by socialist filmmakers in the twentieth century who argued that cinema had a special role to play in mediating and transforming the material world. How does socialist cinema seek to orient its viewer to a particular relationship to objects? How does it treat the human relationship to the environment? How does it regard the material of film and the process of filmmaking itself? Ultimately, the course will familiarize students with diverse understandings of materiality and materialism and with key figures and works in global socialist cinema. Readings and screenings will range from the Soviet avant-garde of the 1920s to Chinese revolutionary cinema of the early 1970s, and conclude with recent documentary and video experiments that engage with their legacies.

This colloquium is intended for graduate students preparing for a field exam in Japanese history and others interested in reading recent scholarship on the social, political, and cultural history of modern Japan.

This course will explore contending strands of feminist thought and practice in modern Korea. Building on previous coursework on feminism and the postcolonial critique of Western feminism, we will consider how various Korean expressions of women’s equality developed in historically contiguous and critical relation to other global feminist ideals and movements (e.g., “The New Woman”, “revolutionary motherhood”, Women of Asia, #MeToo, radical militant feminism, transfeminism, etc…). We will engage a diverse range of historical, literary, and ethnographic sources that probe feminist, proto-feminist, and anti-feminist ideas throughout different periods from Japanese colonialism to the North-South division to the neoliberal South Korean present.

The tantric or esoteric traditions exerted a profound if often covert influence on the development of East Asian Buddhism as a whole and on Japanese Buddhism in specific. In this course, we will trace their development through a close reading of selected sources in translation, focusing on the Ben kenmitsu nikyô ron attributed to Kūkai (774–835), the first systematizer of esoteric Buddhist thought in Japan. We will pay especially close attention to how the label of the “esoteric” or “tantric” is used to define specific religious identities. Students wishing to take this class should have a grounding in (East Asian) Buddhist thought. 

The course introduces both women’s history and theories concerning production and reproduction in modern China, Japan, and Korea. By bringing both production and reproduction into the discussion, the course extends the definition of “work” from workplaces to households, from formal work settings to informalities. We will read and analyze women’s economic engagements in different contexts and localities (e.g. factories, households, political mobilizations, global trade, and sex work) together with scholarships from socio-economic historians, anthropologists, and feminist scholars.

Historians have provided a broad chronological framework and empirical studies, such as the birth of feminist movements in twentieth-century East Asia, the pattern of gendered and highly specialized economic development, and women’s work as handicraft makers, factory employers, and sex workers. Anthropologists have established such analytical categories as “skill,” “practical knowledge,” and “gynotechnics” that were largely overlooked when discussing women’s work. Recent Marxist feminist scholars have extended Marxist examination of value to female labor, and contributed to our understanding of social reproduction by theorizing capitalism and its supporting system. With different concepts and frameworks, students are encouraged to reassess the complex meanings of differences outside of contemporary Western feminist theories.

Performance exists in repetition. Theater is a space where we continue to bring the past to the present, making new moments while maintaining old memories. In this class, we will explore the relationship between performance and repetition by looking at how classical performance in East Asia continue/discontinue on modern stages. From Royal Shakespeare Company’s translation and adaptation of Yuan drama to avant-garde Japanese theatre’ artists recycling of classical performance training techniques, from museum performances that breathe life into the collected theatrical objects to underground variety theater that revives Edo-kabuki––all the materials in the class center on the ways in which modern East Asia negotiates with the disruption of traditions as well as social and personal dislocations that modernity has brought about. By closely looking at a variety of cases, we will consider: How does performance provide us alternative lens to probe into the changing cultural values, historical backgrounds, and social identities in East Asia? What are some ways that we can rethink the premodern/modern divide in East Asian Studies? How can the studies of East Asian performance, both classical and modern, enrich our understandings of the interplay between theater, history, and memory?