Pre-Approved Courses for Japanese Major Area Studies Electives

Total Page:16

File Type:pdf, Size:1020Kb

Pre-Approved Courses for Japanese Major Area Studies Electives Japanese Major Approved Course List Requirement Areas (At least C- or higher is required for all courses) Updated: 10/1/2020 Japanese major Japanese minor Language Area Area Subject Course # WI Title Language Skills Studies Capstone Language Literature Studies JPNS 1001 Japanese Elements I O O JPNS 1002 Japanese Elements II O O JPNS 2701 Japanese Intermediate I: TUJ O O JPNS 2702 Japanese Intermediate II: TUJ O O JPNS 3001 Japanese Advanced I O O JPNS 3002 Japanese Advanced II O O JPNS 4001 Japanese Advanced III O JPNS 4002 Japanese Advanced IV O AMST 2120 Topics in American Culture: Comparing the US and Japan: A Socio-political Analysis O O ANTH 2238 The Visual Anthropology of Modern Japan O O ANTH 2373 Japanese Culture O O ANTH 3310 Problems in Socio-cultural Anthropology: Japanese Popular Culture O O ARTH 2010 Topics in Art History: Nation and Japanese Artists O O ARTH 2096 WI Writing Seminar I: Modern Japanese Art O O ARTH 2097 WI Topics in Art History: Japanese Art and Visual Culture: 1945 to Present O O ARTH 2098 WI Writing Seminar I: Modern Japanese Art O O ARTH 2660 Topics in International Cinema: The Family in Japanese Film from Melodrama to Anime O O ARTH 2800 Topics in Non-Western Art: Art and the City: Tokyo in the 1960s and 1970s O O ARTH 2816 Art and the City: Tokyo in the 1960s and 1970s O O ARTH 2800 Topics in Non-Western Art: Japanese Graphic Design History O O Topics in Non-Western Art: Japanese Art Before and After WWII: From Manga to ARTH 2800 O O Performance Art Topics in Non-Western Art: Japanese Art Before and After WWII: National Identities in ARTH 2800 O O Modernization ARTH 2800 Topics in Non-Western Art: Introduction to Japanese Architectural History O O ARTH 2815 Japanese Art (Pre-Modern Japanese Art) O O ARTH 2896 WI Special Topics in Asian Studies II: Japanese Art and Visual Culture: 1945 to Present O O Special Topics in Asian Studies II: Modern Japanese Visual Culture: Early Edo period ARTH 2896 WI O O through the Second World War ARTH 2896 WI Modern Japanese Art O O ARTH 2896 WI Contemporary Japanese Art O O ARTH 2898 WI Special Topics in Asian Studies II: Japanese Art and Visual Culture: 1945 to Present O O ASST 2000 Special Topics in Asian Studies I: Youth and Deviant Subcultures in Japan O O ASST 2000 Special Topics in Asian Studies I: Manga in Japanese Popular Culture O O ASST 2000 Special Topics in Asian Studies I: Nation and Japanese Artists O O ASST 2000 Special Topics in Asian Studies I: Comparing the US and Japan: A Socio-political Analysis O O ASST 2011 Survey of Japanese Literature before 1868 O O ASST 2011 Survey of Japanese Literature: Pre-Modern O O 1 Japanese Major Approved Course List Requirement Areas (At least C- or higher is required for all courses) Updated: 10/1/2020 Japanese major Japanese minor Language Area Area Subject Course # WI Title Language Skills Studies Capstone Language Literature Studies ASST 2012 Modern and Contemporary Japanese Literature in Translation O O ASST 2012 Modern Japanese Literature Since 1868 O O ASST 2015 Tokyo in Literature and Film O O ASST 2016 Mystery and Crime Fiction in Japan O O ASST 2017 Stories of Parents and Children in Japanese Literature and Film O O ASST 2021 Japanese Literature in Film O O Special Topics I: Disaster Japan: Earthquake, Tsunami, Nuclear Crisis and the Politics of ASST 2030 O O 3.11 ASST 2030 Special Topics I: Japanese Civil Society: Development & Approaches to Current Issues O O ASST 2096 WI Special Topics in Asian Studies II: Contemporary Japanese Film O O ASST 2096 WI Special Topics in Asian Studies II: Classical Japanese Cinema O O ASST 2096 WI Special Topics in Asian Studies II: Japanese Cinema: The 1960s O O ASST 2096 WI Special Topics in Asian Studies II: Japanese Art and Visual Culture: 1945 to Present O O Special Topics in Asian Studies II: Modern Japanese Visual Culture: Early Edo period ASST 2096 WI O O through the Second World War ASST 2096 WI Writing Seminar I: Women in the Films of Mizoguchi, Ozu, and Naruse O O ASST 2096 WI Contemporary Japanese Auteurs O O ASST 2096 WI Writing Seminar I: Modern Japanese Art O O ASST 2098 WI Japanese Popular Culture and Its Literature O O ASST 2111 Japanese Literature: From Classical to Contemporary O O ASST 2238 The Visual Anthropology of Modern Japan O O ASST 2351 Japan in a Changing World Order O O ASST 2373 Japanese Culture O O ASST 2502 Introduction to East Asia: Japan O O ASST 2815 Japanese Art O O ASST 3000 Special Topics in Asian Studies II: Japanese Communication and Culture I O O ASST 3000 Special Topics in Asian Studies II: Prejudice and Discrimination in Japan O O ASST 3000 Special Topics in Asian Studies II: Anime in Japanese Popular Culture O O ASST 3000 Special Topics in Asian Studies II: Art and the City: Tokyo in the 1960s and 1970s O O ASST 3000 Special Topics in Asian Studies II: Japanese Music O O ASST 3000 Special Topics in Non-Western Art: Japanese Graphic Design History O O ASST 3000 Special Topics in Asian Studies II: Exploring Japanese Popular Music O O Special Topics in Asian Studies II: Japanese Art Before and After WWII: From Manga to ASST 3000 O O Performance Art ASST 3000 Special Topics in Asian Studies II: Law and Society in Japan O O ASST 3030 Special Topics in Asian Studies II: Japan's International Relations O O ASST 3247 Ideology and Social Change in Japan O O ASST 3301 Japanese Religions O O 2 Japanese Major Approved Course List Requirement Areas (At least C- or higher is required for all courses) Updated: 10/1/2020 Japanese major Japanese minor Language Area Area Subject Course # WI Title Language Skills Studies Capstone Language Literature Studies ASST 3541 Japan Today O O ASST 3542 Women and Society in Japan O O ASST 4096 WI Writing Seminar in Asian Studies: The Japanese Occupation of Southeast Asia O O ASST 4096 WI Writing Seminar in Asian Studies: Self, Culture, and Illness in Japan O O ASST 4096 WI Writing Seminar in Asian Studies: Gender and Intersectionality in Japan O O ASST 4096 WI Writing Seminar in Asian Studies: Social Stratification, Diversity, and Culture (US/Japan) O O ASST 4696 WI Modern Japan: Empire, War, Society O O ASST 3000 Law and Society in Japan O O FMA 3696 WI Writing Intensive in Film Study: Auteur Study: New Masters of Japanese Cinema O O FMA 3696 WI Writing Intensive in Film Study: Japanese Cinema: The 1960s O O FMA 3696 WI Writing Intensive in Film Study: Contemporary Japanese Film O O FMA 3696 WI Writing Intensive in Film Study: History of Japanese Cinema O O FMA 3696 WI Writing Intensive in Film Study: Women in the Films of Mizoguchi, Ozu, and Naruse O O FMA 3696 WI Writing Intensive in Film Study: Contemporary Japanese Auteurs O O FMA 3696 WI Writing Intensive in Film Study: Japanese Independent Cinema O O FMA 3696 WI Writing Intensive in Film Study: The Films of Ozu O O FMA 3770 Topics in Film Study: Contemporary Japanese Film O O FMA 4240 Topics in Production: Tokyo Stories O O GSWS 3542 Women and Society in Japan O O GUS 3076 Metropolitan Tokyo O O HIST 2502 Introduction to East Asia: Japan O O HIST 3541 Japan Today O O HIST 3542 Women and Society in Japan O O HIST 4696 WI Third World History Writing Seminar: The Japanese Occupation of Southeast Asia O O HIST 4697 WI Modern Japan: Empire, War, Society O O JPNS 2003 Intensive Oral Japanese: Oral Intensive II O JPNS 2011 Survey of Japanese Literature: Pre-Modern O O JPNS 2012 Modern and Contemporary Japanese Literature in Translation O O JPNS 2015 Tokyo in Literature and Film O O JPNS 2016 Mystery and Crime Fiction in Japan O O JPNS 2017 Stories of Parents and Children in Japanese Literature and Film O O JPNS 2021 Japanese Literature in Film O O JPNS 2096 WI Japanese Popular Culture and Its Literature O O JPNS 2098 Japanese Popular Culture and Literature O O JPNS 2301 Kanji II O 3 Japanese Major Approved Course List Requirement Areas (At least C- or higher is required for all courses) Updated: 10/1/2020 Japanese major Japanese minor Language Area Area Subject Course # WI Title Language Skills Studies Capstone Language Literature Studies JPNS 2631 Structure of Japanese Language I O JPNS 2996 WI Japanese Popular Culture and Its Literature JPNS 3000 Introduction to Consecutive Interpretation and Translation I O JPNS 3000 Special Topics in Japanese I: Interpreting and Intercultural Communication O O JPNS 3000 Special Topics in Japanese I: Japanese Communication and Culture I O O Special Topics in Japanese I: Introduction to Consecutive Interpreting for Non-Native JPNS 3000 O O Speakers of Japanese I Special Topics in Japanese I: Introduction to Consecutive Translation for Non-Native JPNS 3000 O Speakers of Japanese I JPNS 3003 Advanced Japanese Writing O JPNS 3010 Introduction to Consecutive Interpretation and Translation II O JPNS 3010 Special Topics in Japanese II: Japanese Communication and Culture II O O JPNS 3010 Special Topics in Japanese II: Kanji III O O JPNS 3010 Special Topics in Japanese II: Japanese for Job Hunting O JPNS 3096 WI Intermediate Writing in Japanese O JPNS 3631 Structure of Japanese Language II O JPNS 4003 Advanced Oral Japanese O JPNS 4182 Internship O JPNS 4196 WI Seminar in Japanese and Japan: Topic I: Socio-culture O JPNS 4296 WI Seminar in Japanese and Japan: Topic II: Business O JPNS 4396 WI Seminar in Japanese and Japan: Topic III: Literature O JRN 3701 Contemporary Media Issues: Japanese Sports and Media O O MSP 3590 Intermediate Topics in Media: Exploring Japanese Popular Music O O POLS 2000 Special Topics: Comparing the US and Japan: A Socio-political Analysis O O POLS 2351 Japan in a Changing World Order O O POLS 3510 Special Topics: Research Preparation Seminar: Japan's International Relations O O PSY 3620 Topics in Psychology: Women and Society in Japan O O PSY 3620 Topics in Psychology: Clinical Sexology in the Japanese Context O O PSY 3620 Topics in Psychology: Prejudice and Discrimination in Japan O O REL 3301 Japanese Religions O O REL 3302 Japanese Buddhism O O SOC 3247 Ideology and Social Change in Japan O O WMST 3000 Topics in Women's Studies: Prejudice and Discrimination in Japan O O WMST 3542 Women and Society in Japan O O *For Japanese Minors - the same course taken to fulfill the literature requirement cannot be used to fulfill a Japanese Area Studies elective requirement.
Recommended publications
  • INTRODUCTION to JAPANESE ART HISTORY 2Credits (Spring) 日本
    INTRODUCTION TO JAPANESE ART HISTORY 2credits (Spring) 日本美術史入門 2 単位(春学期) Lecturer SHIRAHARA, YUKIKO 講師 白原 由起子 Course Description: This course explores the history of Japanese art from the sixth to nineteenth centuries, taking up the topics how imagery and symbolism, materials and techniques, introduced from the continent, have been transformed and developed to be Japanese art. Each class will focus on one or a few artworks; their function, iconology, technique and historical meaning will be discussed. A few times of discussions and presentations will be held in the class. A field trip of viewing a Japanese art exhibition is included in the course work. Textbooks: No text book for the course. Course Plan: 1 Introduction: History and Culture of Japan in East Asia Early Buddhist art of Asuka period (6th-7th centuries) 2 Rinpa-School Painting and Decorative Art (16th-19th centuries) 3 Viewing Class: Irises and Red and White Plum Blossoms exhibition at the Nezu Museum, Minami-Aoyama 4 Emaki I: Narrative Picture Scroll of The Tale of Genji (12th century): An example of Monogatari Picture Scroll 5 Emaki II: Narrative Picture Scroll of Miraculous Deeds of the Priest Myōren who Founded a Temple at Mt. Shigi (12th century): An Example of Setsuwa Picture Scroll 6 Art of Nara period (8th century): Buddhist Sculpture, Painting and Decorative Art 7 Manadala: Esoteric Buddhist Art Introduced to Japan in the 9th century 8 Depart from the Deseased World, Desire to be Born in the Pure Land: Religious Mind and Aesthetic of the 11th -13th centuries 9 Image
    [Show full text]
  • Japanese Spatial Culture, Nature and Architecture
    PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword by Kengo KUMA Edited by Salvator-John A. LIOTTA and Matteo BELFIORE PATTERNS and LAYERING Japanese Spatial Culture, Nature and Architecture Foreword: Kengo KUMA Editors: Salvator-John A. LIOTTA Matteo BELFIORE Graphic edition by: Ilze PakloNE Rafael A. Balboa Foreword 4 Kengo Kuma Background 6 Salvator-John A. Liotta and Matteo Belfiore Patterns, Japanese Spatial Culture, Nature, and Generative Design 8 Salvator-John A. Liotta Spatial Layering in Japan 52 Matteo Belfiore Thinking Japanese Pattern Eccentricities 98 Rafael Balboa and Ilze Paklone Evolution of Geometrical Pattern 106 Ling Zhang Development of Japanese Traditional Pattern Under the Influence of Chinese Culture 112 Yao Chen Patterns in Japanese Vernacular Architecture: Envelope Layers and Ecosystem Integration 118 Catarina Vitorino Distant Distances 126 Bojan Milan Končarević European and Japanese Space: A Different Perception Through Artists’ Eyes 134 Federico Scaroni Pervious and Phenomenal Opacity: Boundary Techniques and Intermediating Patterns as Design Strategies 140 Robert Baum Integrated Interspaces: An Urban Interpretation of the Concept of Oku 146 Cristiano Lippa Craft Mediated Designs: Explorations in Modernity and Bamboo 152 Kaon Ko Doing Patterns as Initiators of Design, Layering as Codifier of Space 160 Ko Nakamura and Mikako Koike On Pattern and Digital Fabrication 168 Yusuke Obuchi Foreword Kengo Kuma When I learned that Salvator-John A. Liotta and Matteo Belfiore in my laboratory had launched a study on patterns and layering, I had a premonition of something new and unseen in preexisting research on Japan. Conventional research on Japan has been initiated out of deep affection for Japanese architecture and thus prone to wetness and sentimentality, distanced from the universal and lacking in potential breadth of architectural theories.
    [Show full text]
  • Western Influence on Japanese Art Song (Kakyoku) in the Meiji Era Japan
    WESTERN INFLUENCE ON JAPANESE ART SONG (KAKYOKU) IN THE MEIJI ERA JAPAN JOANNE COLE Master of Music Performance (by Research) Faculty of the Victorian College of the Arts and Music The University of Melbourne December 2013 Submitted in partial fulfilment of the requirements for the degree of Master of Music Performance (by Research) Produced on Archival Quality Paper Abstract The focus of this dissertation is the investigation of the earliest Western influences on Kōjō no Tsuki (Moon over the Castle) the composition of Japanese composer Rentaro Taki. Kōjō no Tsuki is an example of an early Japanese Art Song known as Kakyoku composed during Meiji Era Japan (1868 - 1912). The dissertation is divided into four chapters with an introduction. Chapter One explores the historical background of the Meiji Era Japan, highlighting the major impact of the signing of the treaty between the United States of America and Japan in 1853. This treaty effectively opened Japan to the West, not only for trade, but for exchange of social, political and cultural ideas. The resulting evolution that occurred in Japan from feudal society to one of early twentieth century is illustrated by reference to articles and writings of the Meiji Era. The second chapter examines the Japanese Art Song form Kakyoku using the example of Rentarō Taki’s song, Kōjō no Tsuki. This chapter presents an argument to illustrate, from an anthropological viewpoint, why this new form of Japanese Art Song could have its own identity based on Western ideas and not be categorised as a Japanese Folk Song known as Minʹyō or Shin Minyō.
    [Show full text]
  • How to Look at Japanese Art I
    HOWTO LOOKAT lAPANESE ART STEPHEN ADDISS with Audrey Yos hi ko Seo lu mgBf 1 mi 1 Aim [ t ^ ' . .. J ' " " n* HOW TO LOOK AT JAPANESE ART I Stephen Addi'ss H with a chapter on gardens by H Audrey Yoshiko Seo Harry N. Abrams, Inc., Publishers ALLSTON BRANCH LIBRARY , To Joseph Seuhert Moore Library of Congress Cataloging-in-Publication Data Addiss, Stephen, 1935- How to look at Japanese art / Stephen Addiss with a chapter on Carnes gardens by Audrey Yoshiko Seo. Lee p. cm. “Ceramics, sculpture and traditional Buddhist art, secular and Zen painting, calligraphy, woodblock prints, gardens.” Includes bibliographical references. ISBN 0-8109-2640-7 (pbk.) 1. Art, Japanese. I. Seo, Audrey Yoshiko. II. Title N7350.A375 1996 709' .52— dc20 95-21879 Front cover: Suzuki Harunobu (1725-1770), Girl Viewing Plum Blossoms at Night (see hgure 50) Back cover, from left to right, above: Ko-kutani Platter, 17th cen- tury (see hgure 7); Otagaki Rengetsu (1791-1875), Sencha Teapot (see hgure 46); Fudo Myoo, c. 839 (see hgure 18). Below: Ryo-gin- tei (Dragon Song Garden), Kyoto, 1964 (see hgure 63). Back- ground: Page of calligraphy from the Ishiyama-gire early 12th century (see hgure 38) On the title page: Ando Hiroshige (1797-1858), Yokkaichi (see hgure 55) Text copyright © 1996 Stephen Addiss Gardens text copyright © 1996 Audrey Yoshiko Seo Illustrations copyright © 1996 Harry N. Abrams, Inc. Published in 1996 by Harry N. Abrams, Incorporated, New York All rights reserv'ed. No part of the contents of this book may be reproduced without the written permission of the publisher Printed and bound in Japan CONTENTS Acknowledgments 6 Introduction 7 Outline of Japanese Historical Periods 12 Pronunciation Guide 13 1.
    [Show full text]
  • Shinto: Discovery of the Divine in Japanese Art
    SHINTO: DISCOVERY OF THE DIVINE IN JAPANESE ART CASE ON VIEW ON VIEW IMAGE TITLE DATE MEDIUM OWNER DESIGNATION No. 4/9–5/19 5/23–6/30 catalogue no. catalogue no. ENTERTAINING THE GODS 1 6 Mounted Archery at Nikkō Tōshōgū Shrine Edo period, 18th century Handscroll; ink, color, and gold on silk LACMA Sliding-door panels remounted as a pair of 2 4 Horse Races at Kamo Edo period, c. 1634-44 six-panel folding screens; ink, color and CMA gold on gilded paper Heian period, 12th Shiga 1 Sumo Wrestlers and Referee Hinoki cypress with traces of ink and color Mikami Jinja century Prefecture ICP 3 Kamakura period, 12th- 5 Mounted Archer Wood with color Kasuga Taisha IAO 13th century Ritual of the Third Month: Sumo, Bugaku, 3 and Lion Dance Edo period, 17th Pair of six-panel folding screens; ink, color 4 Izumo Ōyashiro century and gold on gilded paper Ritual of the Third Month: Mounted 2 Archery Nō Costume with Design of Snow-Covered 17 ICP Willows and Swallowtail Butterflies Momoyama period, late Embroidery and gold and silver leaf on 5 Kasuga Jinja, Seki 16th century plain-weave silk Nō Costume with Design of Pine, Wisteria, 18 ICP and Swallowtail Butterflies Muromachi period, 16th Wood with color, metal fittings, and traces 24 Swollen-Nosed Elder (Hanakobu Akujō) ICP century of hair Kasuga Jinja, Seki 6 22 Zen Acolyte (Kasshiki) Mask Momoyama period Wood with color ICP 19 Evil-Expelling (Tsuina) Mask Edo period Wood with color Kasuga Jinja, Seki ICP Nanbokuchō period, 6 21 Young Woman (Wakai Onna) Mask Wood with color Kasuga Jinja, Seki ICP 14th century CASE ON VIEW ON VIEW IMAGE TITLE DATE MEDIUM OWNER DESIGNATION No.
    [Show full text]
  • About Japanese Gardens and Ponds, All Japanese Gardens Utilize Nature to Produce a Beautiful, Serene Place for Tea Ceremonies
    CK_5_TH_VA_P325_368.QXD 2/10/06 7:47 AM Page 363 What Teachers Need to Know Background Many cultures have influenced Japan’s history, culture, and art throughout the ages. Chinese and Korean influence dominated from the seventh to the ninth centuries. Europe began to have an influence in the sixteenth century as did the United States after 1868. Despite the variety of outside influences, Japanese art has distinct characteristics. One is simple elegance in form and design. Notice the careful inclusion of details in Suzuki Harunobu’s Girl Viewing Plum Cross-curricular Blossoms at Night. (See discussion on p. 366.) Japanese art also demonstrates Teaching Idea a keen sensitivity to the sublime aspect of nature. Japanese gardens honor You may wish to teach the section nature’s splendor while subtly shaping the outdoors into three-dimensional “Feudal Japan” from World History artistic experiences. (See discussion on pp. 365–366.) Subtlety, too, pervades and Geography (see pp. 220–230) in sculpture, even in such a monumental piece as The Great Buddha of conjunction with this unit. Kamakura. Draped over Buddha’s quiet body, the pleats in his robe create only the slightest hint of repeated pattern. (See discussion on pp. 364–365.) Note: The descriptions and activities in the main text below are intended to help you become familiar with the artworks before present- Teaching Idea ing them to students; however, some of the activities might be adapted for After introducing the basic concepts classroom use. Activities intended specifically for students can be found and ideas in this section, use in the Teaching Idea sidebars.
    [Show full text]
  • Contemporary Japanese Art
    COVER STORY • 5 Contemporary Japanese Art By Koyama Tomio ©1996 Takashi Murakami / Kaikai Kiki Co., Ltd. All Rights Reserved. Courtesy: Tomio Koyama Gallery / Photo: Yoshitaka Uchida, Nomadic Studio ORKS by Japanese artists have begun to be forgotten in con- Wbecome increasingly popular temporary art, both artists around the world in recent years. I appeal to people who have a opened a gallery in 1996 and have broader perspective of what art exhibited and sold works by the artists is. Murakami Takashi and Nara Yoshitomo. Now their works are regis- 2. They have outstanding tered at every auction held by premier technique. Both Murakami and auction houses like Christie’s and Nara studied at art universities Sotheby’s. Sometimes their works even in Japan. Japanese art educa- adorn the cover of those houses’ publica- tion is extremely academic, and tions, an honor which only renews their unlike Western art education value. Murakami was invited by Louis whose mainstream is concept- Vuitton as an artist, and helped to boost oriented, it emphasizes basic sales by working with the designer Marc techniques such as drawings. Jacobs to participate in the greatest col- The fact that they both prac- laboration in fashion history. In addi- ticed these techniques is proba- tion to appealing to art collectors and art bly an important factor in their museums worldwide, their works are of success, although it is not the great interest in the worlds of fashion primary explanation. This has Murakami Takashi, “And Then, And Then And Then And Then And Then” 1996, Acrylic on canvas mounted on and film.
    [Show full text]
  • Myths of Hakkō Ichiu: Nationalism, Liminality, and Gender
    Myths of Hakko Ichiu: Nationalism, Liminality, and Gender in Official Ceremonies of Modern Japan Item Type text; Electronic Dissertation Authors Teshima, Taeko Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 01/10/2021 21:55:25 Link to Item http://hdl.handle.net/10150/194943 MYTHS OF HAKKŌ ICHIU: NATIONALISM, LIMINALITY, AND GENDER IN OFFICIAL CEREMONIES OF MODERN JAPAN by Taeko Teshima ______________________ Copyright © Taeko Teshima 2006 A Dissertation Submitted to the Faculty of the GRADUATE PROGRAM IN COMPARATIVE CULTURAL AND LITERARY STUDIES In Partial Fulfillment of the Requirements For a Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2 0 0 6 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Taeko Teshima entitled Myths of Hakkō Ichiu: Nationalism, Liminality, and Gender in Official Ceremonies of Modern Japan and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy _________________________________________________Date: 6/06/06 Barbara A. Babcock _________________________________________________Date: 6/06/06 Philip Gabriel _________________________________________________Date: 6/06/06 Susan Hardy Aiken Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement.
    [Show full text]
  • From Text to Image in Japanese Art
    FROM TEXT TO IMAGE IN JAPANESE ART Course: 01:565:483 “From Text to Image in Japanese Art” Rutgers University, Spring 2017 Lecture: MTh2 (9:50-11:10) AB1100 Instructor: Haruko Wakabayashi [email protected] Office Hours: Scott Hall Rm 325, TH 11:30 – 1:00 or by appointment Catalogue Description: Explores the profound influence of classical literature on the arts of Japan, especially painting. Analysis of the historical and literary meaning of the literary works; investigation of the fusion of text and image. Course Description: This interdisciplinary course explores the profound influence of classical literature on the arts of Japan. During a thousand years, from the Heian to Tokugawa periods (794-1868), artists transformed into visual images both the emotions and the events described in the myths, legends, poetry, courtly novels, and war chronicles. Literary works were adapted to different formats—handscrolls, hanging scrolls, screens, and prints—as they became an integral, indivisible aspect of the arts that expressed the aesthetic of different social groups— aristocrats, shoguns, and urban bourgeoisie. We will read widely across many different genres of classical literature and their visual representations, and investigate how the fusion of text and image created unique masterpieces of Japanese art. The course is constituted of three modules: (1) Spreading Faith: Miraculous Tales of Buddhist and Shinto Gods (2) Courtly Elegance: Literary Traditions from the Classical Age (3) Warrior Heroes: Tales of Battles and Demon-Quelling Adventures Graduate students will be assigned extra reading (typically a scholarly journal article or book chapter) and a final research paper. Requirements: (1) Each week will consist of a lecture and a discussion session.
    [Show full text]
  • A Pure Invention: Japan, Impressionism, and the West, 1853-1906
    A Pure Invention: Japan, Impressionism, and the West, 1853-1906 Amir Abou-Jaoude Senior Division, Historical Paper 2,494 words Introduction The playwright and poet Oscar Wilde traveled little outside of Europe, yet he felt as if he had journeyed to Japan. In 1891, he wrote that after careful examination of the woodblock prints of artists like Hiroshige and Hokusai, you could “sit in the park or stroll down Piccadilly, and if you cannot see an absolutely Japanese effect there, you will not see it anywhere”1—not even, Wilde proclaimed, in Tokyo itself. Forty years earlier, in 1851, Westerners had known little about the floating kingdom. Since the early 17th-century, Japan had been completely isolated from the West, save for a few Dutch traders who conducted business around Nagasaki. Then, in 1853, the American Commodore Matthew Perry forced Japan to trade with the West under threat of naval bombardment. Kimonos, fans, and especially woodblock prints by the great Japanese artists flooded European markets. These Japanese goods had a particularly profound impact on the arts. Debussy was inspired to write La mer (1905), his most groundbreaking and influential piece, after seeing Katsushika Hokusai’s print of Under the Wave off Kanagawa.2 The Soviet film director Sergei Eisenstein would turn to Japanese art as he was composing powerful cinematic images.3 Eventually, the image of the “Great Wave”4 that Debussy admired would become a symbol of all things Japan.5 The “Japanese effect” was most prominent in art. As Japanese art entered European salons, French artists were beginning to experiment with Impressionism.
    [Show full text]
  • Edo: Art in Japan 1615-1868; Teaching Program
    edo teach.qxd4 12/9/98 10:42 AM Page 1 Teaching Program Edo art in japan 1615 – 1868 national gallery of art, washington edo teach.qxd4 12/9/98 10:42 AM Page 2 The exhibition Edo: Art in Japan 1615 – 1868 is made possible by NTT Exhibition dates: 15 November 1998 through 15 February 1999 edo teach.qxd4 12/9/98 10:42 AM Page 1 Edo Art in Japan 1615 – 1868 Teaching Program National Gallery of Art, Washington edo teach.qxd4 12/9/98 10:42 AM Page 2 acknowledgments notes to the reader This teaching program was written for the The Japanese government has designated education division by Christine Guth, an inde- numerous works of art as National Treasures, pendent scholar. Since receiving her Ph.D. in Important Cultural Properties, or Important Art Fine Arts from Harvard University in 1976, she Objects because of their artistic quality, historic has taught at institutions such as Harvard, value, and rarity. Several works with these des- Princeton, and the University of Pennsylvania. ignations are included in this publication. Her recent publications include Art, Tea, and Industry: Masuda Takashi and the Mitsui Circle Dimensions are in centimeters, followed by (Princeton, 1993) and Art of Edo Japan: The Artist inches in parentheses, height preceding width, and the City, 1615Ð1868 (New York, 1996). and width preceding depth. Concept development and teaching activities Cover: Watanabe Shik¿, Mount Yoshino, early by Anne Henderson, Heidi Hinish, and Barbara eighteenth century, detail from a pair of six- Moore. panel screens; ink, color, and gold on paper, Private Collection, Kyoto Thanks to Leo Kasun, Elisa Patterson, Ruth Perlin, Renata Sant’anna, Takahide Tsuchiya, Title page: Dish with radish and waves design, and Susan Witmer for their assistance with c.
    [Show full text]
  • CBCS 059 YAMADORI (Collected Near Bass Lake in 1972)
    PEDESTAL 1 CBCS 059 YAMADORI (Collected near Bass Lake in 1972) Artist/ Maker: Howard Latimer Common name: Interior Live Oak Botanical Name: Quercus wislizeni Date Acquired: April 30, 2019 Age: Est. 100 years In training since 1972 Evergreen: Style: Han-kengai/Semi-cascade The semi-cascade style, just like the cascade style, is found in nature on cliffs and on the banks of rivers and lakes. The trunk grows upright for a small distance and then bends downwards/sidewards. Unlike the cascade style, the semi- cascade trunk will never grow below the bottom of the pot. The crown is usually above the rim of the pot while subsequent branching occurs below the rim. Donor: Howard Latimer PEDESTAL 2 1997 GSBF Magazine CBCS 2019 New pot 2021 CBCS 082 LEGACY COLLECTION Bonsai within the Collection created by Japanese immigrants and/or Japanese Americans and maintained in the style of the original artist in so far as that is possible to provide an historical spectrum in keeping with the mission of a bonsai museum. YAMADORI: literally means “collecting plants in the mountains” but is loosely translated into gathering plants from the wild. The found plant specimen is then carefully and skillfully trained into works of art also known as Bonsai. Yamadori is the most coveted type of Bonsai because of its unique characteristics. This tree won the Ben Oki International Design Award in 1998. Artist/ Maker: Sherwin Amimoto Common Name: California Juniper Botanical Name: Juniperus Californica Date Acquired: 10/30/08 Age: Estimated to be 300 years + Deciduous / Evergreen: Evergreen Style: Sharimiki/Driftwood This style portrays a tree with a significant part of its trunk bare of bark.
    [Show full text]