Course Syllabus 2015 YONSEI INTERNATIONAL SUMMER SCHOOL

Anime and Japanese Visual Culture

CREDIT INSTRUCTOR Janice S Kanemitsu

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[COURSE INFORMATION]

In this course, we will explore and anayze the emergence of and transitions in the visual culture of Japan, considering how the cultural conventions of different eras have been coded, decoded, and recoded. Course materials range from the

COURSE DESCRIPTION Tokugawa period, also referred to as Japan’s early modern era (1600-1868)— & GOALS during which Japanese society underwent extensive urbanization, secularization, and cultural commodification—up to the present. The course’s main themes will be: media and information technology (woodblock printing, newspapers, and the internet); pictocentrism (illustrated fiction, “paper theater,” and manga); popular fiction; subcultures and fan communities.

PREREQUISITE None, although a prior course on Japanese culture or history is highly recommended.

Complete weekly readings and come to class each day prepared for active participation. COURSE REQUIREMENTS Regarding the course materials, students will be required to order a course reader from the copy center. Please order the course reader as soon as you can; it is printed on an on-demand basis.

Academic performance will be assessed on weekly responses (Monday), short weekly quizzes GRADING POLICY (Thursday), and a final examination.

Santō Kyōden. “Playboy, Roasted a la Edo (1785),” trans. Adam Kern. In Manga from the Floating World, 339-97. Cambridge, MA, and London: Harvard University Asian Center, 2006. Jippensha Ikku. “The Monster Takes a Bride” (1807), trans. Adam Kern. In An Edo Anthology, ed. Sumie Jones with Kenji Watanabe, 137-67. Honolulu: University of Hawai’i Press, 2013. TEXTS & REFERENCES Kinsella, Sharon. “A Short History of Manga” and “The Manga Production Cycle.” In Adult Manga: Power and Culture in Contemporary Japanese Society, 19 to 69. Honolulu, HI: University of Hawai’i Press, 2000. Schodt, Frederik L. “Enter the Id” and “Modern Manga at the End of the Millenium.” In Dreamland Japan: Writings on Modern Manga, 19-72. Berkeley: Stone Bridge Press, 1996. Fujimoto Yukari. “Takahashi Macoto: The Origins of Shōjō Manga Style,” trans. Matt. Thorn. Mechademia 7 (2012): 24-55. Course Syllabus 2015 YONSEI INTERNATIONAL SUMMER SCHOOL

Greenwood, Forrest. “The Girl at the Center of the World: Gender, Genre, and Remediation in Bishōjō Media Works.” Mechademia 9 (2014): 237-52. Napier, Susan. Anme from Akira to Howl’s Moving Castle, 3-62. New York: Palgrave, 2005. Sharalyn Orbaugh, “The Genealogy of the Cyborg in Japanese Popular Culture,” in World Weavers: Globalization, Science Fiction, and the Cybernetic Revolution, ed. Wong Kin Yuen, Gary Westfahl, and Amy Kit-sze Chan, 55-71. Hong Kong: Hong Kong University Press, 2005. Choo, Kukhee. “Girls Return Home: Portraits of Femininity in Popular Japanese Manga and Anime in the 1990s in Hana yori dango and Fruits Basket.” Women: A Cultural Review 19..3 (2008): 275-96. Hiramoto, Mie. “Hey, you’re a girl? Gendered expressions in the popular anime Cowboy Bebop.” Multilingua 32.1 (2013)” 51-78. Saito, Kumiko. “Magic, Shōjō, and Metamorphosis: Magical Girl and Changing Gender Identities in Japanese Society.” Journal of Japanese Studies 73.1 (Feb 2014): 143-64. Lee, Hye-Kung. “Between fan culture and copyright infringement: manga scanlation.” Media Culture Society 31.6 (2009): 1011-1022. Sell, Cathy. “Manga Translation and Interculture.” Mechademia 6.1 (2011): 93-108. Sánchez, Pablo Muñoz. “Video Game Localization by Fans for Fans: The Case of Romhacking.” 168-85.

Janice Kanemitsu received both her M.A. (Asian Studies, emphasis: Japan) and Ph.D. (Japanese Literature and Culture) from the University of California, Berkeley. Her research interests broadly encompass literature and theater in Japan's early modern period INSTRUCTOR’S PROFILE (1603-1868), centering on the generic boundaries of historical narratives and period plays, the intersection of print and performance as a site of literary and cultural transmission, and representation of gender, exaggerated and reversed. At Cornell University, she teaches courses on Japanese literature and culture, theater and performance, and contemporary popular Japanese culture.

[WEEKLY SCHEDULE] * Your detailed explanation would be very helpful for prospective students to get a pre-approval for credit-transfer from their home university in advance. COURSE MATERIAL & WEEK (PERIOD) WEEKLY TOPIC & CONTENTS REFERENCE ASSIGNMENTS

Santō Kyōden. “Playboy, Roasted a la Course overview Edo (1785).” 339-97. 1 What is visual culture? Illustrated fiction from early modern Japan Jippensha Ikku. “The Monster Takes Bride” (1807). 137-67. Course Syllabus 2015 YONSEI INTERNATIONAL SUMMER SCHOOL

COURSE MATERIAL & WEEK (PERIOD) WEEKLY TOPIC & CONTENTS REFERENCE ASSIGNMENTS Kinsella, Sharon. “A Short History of Manga” and “The Manga Production Cycle.” 19-69. 2 Manga Past and Present Schodt, Frederik L. “Enter the Id” and “Modern Manga at the End of the Millenium.” 19-72.

Fujimoto Yukari. “Takahashi Macoto: The Origins of Shōjō Manga 3 Manga Genres Style,” 24-55. Greenwood, Forrest. “The Girl at the Center of the World,” 237-52.

Napier, Susan. Anme from Akira to Howl’s Moving Castle, 3-62. 4 Anime Sharalyn Orbaugh, “The Genealogy of the Cyborg,” 55-71.

Choo, Kukhee. “Girls Return Home,” 275- 96. Hiramoto, Mie. “Hey, you’re a girl? 5 Genre and Gender in Anime Gendered expressions in the popular anime Cowboy Bebop,” 51-78. Saitō, Kumiko. “Magic, Shōjō, and Metamorphosis.” 43-64.

Lee, Hye-Kung. “Between fan culture and copyright infringement: scanlation.” 1011-1022. Voice actors/Video Games 6 Fan Communities Sell, Cathy. “Manga Translation and Interculture.” 93-108. Sánchez, Pablo Muñoz. “Video Game Localization,” 168-85.