Department of Asian, Middle Eastern and Turkish Studies Studies, FC, 7.5hp, fall semester 2017

Contact Information

Professor Lecturer Jaqueline Berndt Mitsuyo Kuwano Lidén, FD [email protected] Phone:08-16 24 96 [email protected] Visiting Professor Christina Nygren Lecturer (on leave) Phone:08-16 28 99 Eriko Seto Norrgård [email protected] Phone:08-161421 [email protected] Senior Lecturer (on leave) Gunnar Linder Lecturer Phone:08-16 37 88 Jorunn Nilsson [email protected] Phone:08-16 36 33 [email protected] Senior Lecturer Stina Jelbring Adjunkt Phone:08-16 14 20 Akiko Shirabe [email protected] Phone:08-16 28 15 [email protected] Senior Lecturer Ewa Machotka Doctoral Student Phone:08-16 32 62 Ida Kirkegaard [email protected] Phone:08-16 15 88 [email protected] Doctoral Student The Department Andreas Bengtsson Phone:08-16 36 32 Visiting Address [email protected] Kräftriket, buildning 4 (Roslagsvägen 101:4) Stockholm

Posal Address Department of Asian, Middle Eastern and Head of Department Turkish Studies Alberto Tiscornia Stockholm University Phone:08-16 49 29 106 91 Stockholm [email protected] Student Office Director of Studies Visiting address: Kräftriket 4a Hanna Kritz Phone: 08-16 10 35 Phone:08-16 27 22 Fax: 08-16 88 10 [email protected] [email protected] Assistant Director of Studies Webbpage Johan Fresk www.su.se/asia/english Phone:08-16 36 20 [email protected]

Kursplan för kurs på grundnivå Mangastudier 7.5 Högskolepoäng Manga Studies 7.5 ECTS credits

Kurskod: JKA918 Gäller från: HT 2017 Fastställd: 2017-02-22 Institution Institutionen för Asien- Mellanöstern- och Turkietstudier

Huvudområde: Asiens språk och kulturer Fördjupning: G1N - Grundnivå, har endast gymnasiala förkunskapskrav

Beslut Kursen är inrättad av Humanistiska fakultetsnämnden 2016-11-30 och fastställd av institutionsstyrelsen vid Institutionen för Asien-, Mellanöstern- och Turkietstudier 2017-02-22.

Förkunskapskrav och andra villkor för tillträde till kursen Grundläggande behörighet.

Kursens uppläggning Provkod Benämning Högskolepoäng DK01 Mangastudier 7.5

Kursens innehåll Kursen behandlar manga, japanska serier, ur ett vetenskapligt perspektiv med stöd i semiotik, narratologi och medieestetik. Den fokuserar på vad det innebär att läsa manga bland annat i relation till historisk period, publiceringssätt och genre. Syftet med kursen är att förse studenten med de grundläggande verktyg som krävs för att kunna argumentera kring manga med avseende på den ofta omtvistade estetiska och kulturella potential som finns i dessa serier.

Förväntade studieresultat Efter att ha genomgått kursen förväntas studenten kunna: - analytiskt läsa enskilda mangatexter med utgångspunkt i två olika sociokulturella perspektiv - bedöma manga med avseende på mediespecificitet - använda sig av sin förvärvade kunskap om japansk och icke-japansk mangadiskurs för att bygga interkulturella broar - förena/förlika intrakulturella (t.ex. svenska) insider- och outsiderperspektiv på mangakultur, speciellt med avseende på sexuella representationer

Undervisning Undervisningen sker i form av föreläsningar.

Närvaro på all undervisning är obligatorisk.

Kunskapskontroll och examination a. Kursen examineras genom en IT-baserad hemtentamen. För mer detaljerad information hänvisas till kursbeskrivningen.

Sidan 1/2 b. Betygssättning sker genom en målrelaterad sjugradig betygsskala. A=Utmärkt, B=Mycket bra, C=Bra, D=Tillfredsställande, E=Tillräckligt, Fx=Otillräckligt, F=Helt otillräckligt. c. De skriftliga betygskriterierna meddelas studenterna vid kursstart. Meddelade betygskriterier är bindande. d. För att få slutbetyg på kursen krävs lägst betyget E på den IT-baserade hemtentamen samt fullgjord närvaro om 80%.

Om särskilda skäl föreligger kan examinator efter samråd med ansvarig lärare medge den studerande befrielse från skyldigheten att delta i viss obligatorisk undervisning. Studenten kan då åläggas en kompensationsuppgift. e. För varje kurstillfälle ska minst två examinationstillfällen finnas under aktuell termin. Minst ett examinationstillfälle ska dessutom erbjudas den termin eller det år som kurstillfälle saknas.

Studerande som fått lägst betyget E får inte genomgå förnyad examination för högre betyg.

Studerande som fått betyget Fx eller F på prov två gånger i rad av samma examinator har rätt att få annan examinator utsedd vid nästkommande prov, om inte särskilda skäl talar emot det. Framställan om detta ska göras till institutionsstyrelsen. f. Möjlighet till komplettering av betyg Fx upp till godkänt betyg ges inte på denna kurs.

Övergångsbestämmelser När kursplanen är upphävd har studenten rätt att examineras en gång per termin enligt föreliggande kursplan under en avvecklingsperiod på tre terminer.

Begränsningar Kursen får inte tillgodoräknas i examen samtidigt med sådan inom eller utom landet genomgången och godkänd kurs som helt eller delvis överensstämmer med innehållet i kursen.

Kurslitteratur För aktuell kurslitteratur hänvisas till kursens webbplats på www.su.se/asia. Aktuell litteraturlista finns tillgänglig senast två månader före kursstart.

Sidan 2/2 Syllabus for course at first level Manga Studies 7.5 Higher Education Mangastudier Credits 7.5 ECTS credits

Course code: JKA918 Valid from: Autumn 2017 Date of approval: 2017-02-22 Department Department of Asian, Middle Eastern and Turkish Studies

Main field: Asia:s Languages and Cultures Specialisation: G1N - First cycle, has only upper-secondary level entry requirements

Decision This syllabus was developed by the Faculty Board of Humanities 2016-11-30 and adopted by the Board of the Department of Asian, Middle Eastern and Turkish Studies 2017-02-22.

Prerequisites and special admittance requirements Basic eligibility.

Course structure Examination code Name Higher Education Credits DK01 Manga Studies 7.5

Course content The course discusses manga, i.e. Japan-based , from a scientific perspective, leaning on semiotics, narratology and media aesthetics. It pursues what what is means to read manga, for example in relation to historical period, publication mode and genre. The aim of the course is to to equip the student with basic tools for argumentation in regard to the often contested aesthetic and cultural potential of Japanese comics.

Learning outcomes In order to pass the course, students are expected to be able to: - read individual manga texts analytically from at least two different socio-cultural perspectives - assess manga with regard to media specificity - exert acquired knowledge of Japanese and non-Japanese manga discourse to build intercultural bridges - conciliate intra-cultural (for example, Swedish) insider and outsider perspectives onto manga culture, especially with respect to sexual representation

Education Instruction is given in the form of lectures.

Attendance at att teaching sessions is mandatory.

For more information, please refer to the course description.

Forms of examination a. The course is examined on the basis of a written exam at the end of the course. For more detailed

This is a translation of the Swedish original Page 1/2 information, please refer to the course description. b. Grades will be set according to a seven-point scale related to the learning objectives of the course: A = Excellent, B = Very good, C = Good, D = Satisfactory, E = Sufficient, Fx = Inadequate, F = Totally inadequate. c. Students will be informed of the written grading criteria when the course starts. d. In order to pass the course, students must receive a grade of E or higher on the written exam and meet the attendance requirements of 80%. Students with 70-79% attendance can get a final grade after completing supplementary assignments. e. At least two examination opportunities should be offered for each course. At least one examination opportunity should be offered during a semester when the course is not given. Students who receive the grade E or higher may not retake the examination to attain a higher grade. Students who receive the grade Fx or F twice by the same examiner are entitled to have another examiner appointed for the next examination, unless there are special reasons to the contary. Such requests should be made to the department board. f. This course does not include any opportunities to complete a supplementary assignement in order to convert the grade Fx or F into a passing grade.

Interim When the syllabus is discontinued, students have the right to be examined according to this syllabus once per semester during a transition period of three semesters.

Limitations This course may not be included in a degree together with a course taken in Sweden or elsewhere, of identical or partially similar content.

Required reading For up-to-date information about required reading, please refer to the departments website at www.su.se/asia. The current reading list will be made available at least two months before the course starts.

This is a translation of the Swedish original Page 2/2 Manga Studies, FC, 7.5hp

Teacher

Jaqueline Berndt [[email protected]]

Course content

Manga, i.e. Japan-based comics, have been attracting critical attention with respect to cultural policy and identity politics, character business, media convergence and the like, but the texts themselves, their media specificity and discursive positioning often go unnoticed. Leaning on comics studies as informed by semiotics, narratology and media aesthetics and introducing Japanese criticism, this course approaches manga as serialized graphic narratives, which dwell between the Gutenberg Galaxy and the Information Age. It pursues what it means to read manga not only in relation to historical period, publication mode, gendered genre and actual location, but also material support, stylistic conventions, representational meaning and non- representational usages in order to equip the student with basic tools for argumentation in regard to the often contested aesthetic and cultural potential of Japanese comics.

Teaching and evaluation

Instruction is given in the form of lectures.

Attendance at all teaching sessions is mandatory.

Manga Studies is examined on the basis of a written exam by the end of the course.

Exia home exam: 18 December 2017 – 14 January 2018

Learning outcomes

In order to pass the course, students are expected to be able to: - read individual manga texts analytically from at least two different socio- cultural perspectives - assess manga with regard to media specificity - exert acquired knowledge of Japanese and non-Japanese manga discourse to build intercultural bridges - conciliate intra-cultural (for example, Swedish) insider and outsider perspectives onto manga culture, especially with respect to sexual representation

Grading criteria

A The student shows excellent skills in reading individual manga texts analytically from at least two different socio-cultural perspectives. She/he shows in-depth knowledge in assessing manga with regard to media specificity and exert acquired knowledge of Japanese and non-Japanese manga discourse to build intercultural bridges. She/he also shows an excellent knowledge in conciliating intra-cultural insider and outsider perspectives onto manga culture, especially with respect to sexual representation. B The student shows good skills in reading individual manga texts analytically from at least two different socio-cultural perspectives. She/he can assess manga with regard to media specificity and exert acquired knowledge of Japanese and non-Japanese manga discourse to build intercultural bridges thoroughly. She/he also shows good knowledge in conciliating intra-cultural insider and outsider perspectives onto manga culture, especially with respect to sexual representation. C The student can read individual manga texts analytically from at least two different socio-cultural perspectives. She/he can also assess manga with regard to media specificity and exert acquired knowledge of Japanese and non-Japanese manga discourse to build intercultural bridges. She/he can also conciliate intra- cultural insider and outsider perspectives onto manga culture, especially with respect to sexual representation. D The student can, on a superficial level, read individual manga texts analytically from at least two different socio-cultural perspectives. She/he can also, to some extent, assess manga with regard to media specificity and exert acquired knowledge of Japanese and non-Japanese manga discourse to build intercultural bridges. She/he also shows sufficient knowledge in conciliating intra-cultural insider and outsider perspectives onto manga culture, especially with respect to sexual representation. E The student can, with some deficiencies, read individual manga texts analytically from at least two different socio-cultural perspectives. She/he can also, in a satisfactory way, assess manga with regard to media specificity and exert acquired knowledge of Japanese and non-Japanese manga discourse to build intercultural bridges. She/he also shows enough knowledge in conciliating intra-cultural insider and outsider perspectives onto manga culture, especially with respect to sexual representation.

There are som misunderstandings, but not so many that the student should fail the course. Fx The student lacks some of the basic knowledge that is required for obtaining the passing grade E. F The student lacks all of the basic knowledge that is required for obtaining the passing grade E. Literature

[No need to purchase any of the readings. Use the university library!] [☆ indicates mandatory readings which will be subject to the exam]

☆ Antononoka, Olga (2016). “Blonde is the new Japanese: Transcending race in shōjo manga”, Mutual Images, vol.1, Summer, pp. 22-46. Web. http://www.mutualimages- journal.org/index.php/MI/article/view/Olga%20Antononoka

Berndt, Enno & Jaqueline (2015), “Magazines and Books: Changes in the Manga Market,” in J. Berndt, Manga: Medium, Kunst und Material/Media, Art, and Material, Leipzig University Press, pp. 227-239 [SUB: book + Mondo]

Berndt, Jaqueline ☆ __(2007), “Considering Manga Discourse: Location, Ambiguity, Historicity”. In Japanese Visual Culture, edited by Mark MacWilliams, pp. 351-369. Armonk, NY: M. E. Sharpe [SUB: e-book] __(2012), “Manga x Museum in Contemporary Japan,” Manhwa, Manga, Manhua: East Asian Comics Studies, Leipzig University Press, pp. 141-150. [SUB: book + Mondo] __(2013), “Ghostly: ‘Asian Graphic Narratives,’ Nonnonba, and Manga,” From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic Narrative (Narratologia series), ed. by Daniel Stein and Jan-Noël Thon, Berlin: deGruyter, pp. 363- 384. [SUB: e-book] __(2014a), “Manga Studies #1: Introduction,” Comics Forum (academic website for Comics Studies, Leeds University). Web. http://comicsforum.org/2014/05/11/manga- studies-1-introduction-by-jaqueline-berndt/ __(2014b), “SKIM as GIRL: Reading a Japanese North American through Manga Lenses”, Drawing New Color Lines: Transnational Asian American Graphic Narratives, ed. by Monica Chiu, Hong Kong University Press, pp. 257-278. __(2015), “Historical Adventures of a Posthistorical Medium: Japan’s Wartime Past as Represented,” in id., Manga: Medium, Kunst und Material/Media, Art, and Material, Leipzig University Press, pp. 65-105. [SUB: book + Mondo] ☆ __(2016), Chapter 8 “Manga, which Manga? Publication Formats, Genres, Users,” in Japanese Civilization in the 21st Century. New York: Nova Science Publishers, ed. Andrew Targowski, Juri Abe, Hisanori Katō, pp. 121-133. [SUB: book + Mondo]

Brienza, Casey (2015), “Introduction,” in id., ed., Global Manga: “Japanese Comics” without Japan?, Farnham, Surrey & Burlington, VT: Ashgate, pp. 13-33. [SUB: e-book]

☆ Clarke, M.J. (2017), “Fluidity of figure and space in ’s Ode to Kirihito,” Journal of Graphic Novels and Comics, 26pp. [SUB: e-journal]

Cohn, Neil __ (2010), “Japanese Visual Language: The Structure of Manga,” in Toni Johnson-Woods (ed.), Manga: An Anthology of Global and Cultural Perspectives, New York: Continuum International/=Bloomsbury, 187-203. [SUB: e-book] __(2013), The visual language of comics: Introduction to the structure and cognition of sequential images. London: Bloomsbury [Chapter 8 on manga]. [SUB: e-book]

Groensteen, Thierry __(2007), The System of Comics, trans. by Bart Beaty and Nick Nguyen, Jackson: UP of Mississippi. [SUB: e-book] __(2013), Comics and Narration, Jackson: UP of Mississippi. [SUB: e-book]

Holmberg, Ryan (2011-2016), Columne “What was alternative manga?” The Comics Journal. Web.

☆ Ito, Go (2011), “Tezuka is Dead: Manga in Transformation and its Dysfunctional Discourse,” transl. by and with an introduction by Miri Nakamura, Mechademia vol. 6, pp. 69-83. [SUB: e-journal]

Kukkonen, Karin (2013), Studying comics and graphic novels, Hoboken : Wiley, 2013; chapters 1, 2 & 6. [SUB: e-book]

LaMarre, Thomas __(2008), “Speciesism, Part I: Translating Races into Animals in Wartime Animation,” Mechademia vol. 3, pp. 75-95. [SUB: e-journal] __(2010), “Speciesism, Part II: Tezuka Osamu and the Multispecies Ideal.” Mechademia vol. 5, pp. 51-86. [SUB: e-journal]

Lefèvre, Pascal ☆ __(2011), “Mise en scène and Framing: Visual Storytelling in Lone Wolf and Cub,” Randy Duncan, and Matthew J. Smith (eds), Critical Approaches to Comics: Theories and Methods. London: Routledge, 71-83. [SUB: book] [downloadable from http://www.academia.edu/12713756/Mise_en_scène_and_Framing._Visual_Storytelling_ in_Lone_Wolf_and_Cub] __(2016), “What if the Japanese could alter WW2? — A case study of Kawaguchi’s manga series,” SJoCA, vol. 3-1, pp. 3-27. Web. http://sjoca.com/wp-content/uploads/2017/02/SJoCA-3-1-02-Lefevre.pdf

☆ Luebke, Peter C. & Rachel DiNitto (2011), “Maruo Suehiro’s ‘Planet of the Jap’: Revanchist Fantasy or War Critique?,” Japanese Studies, 31:2, 229-247. [SUB: e-journal]

McCloud, Scott __(1994). Understanding Comics: The Invisible Art. New York: Harper Perennial. [SUB: book; also Swedish transl. available] __(2006). Making Comics: Storytelling Secrets of Comics, Manga, and Graphic Novels. New York: HarperCollins. [SUB: book]

☆ Miyake, Toshio (2016), “History as Sexualized Parody: Love and Sex BetweenNations in Axis Powers Hetalia,” in Nissim Otmazgin & Rebecca Suter (eds), Rewriting History in Manga: Stories for the Nation, NY: Palgrave Macmillan, pp. 151-174. [SUB: e-book]

☆ Miyamoto, Hirohito (2012). “How Characters Stand Out,” transl. by Thomas Lamarre, Mechademia vol. 7, pp. 84-91 [SUB: e-journal]

Natsume, Fusanosuke ☆ __(2008). “Manga: Komatopia,” transl. by Margherita Long, introduction by Hajime Nakatani, Mechademia vol. 3, pp. 65-74. [SUB: e-journal] ☆ __(2010). “Pictotext and panels: Commonalities and differences in manga, comics and BD.” Comics Worlds and the World of Comics (series Global Manga Studies, vol. 1), imrc. (download: http://imrc.jp/lecture/2009/12/comics-in-the-world.html), 37–52. Web. ☆ __(2013). “Where Is Tezuka?: A Theory of Manga Expression,” transl. by Matthew Young, Mechademia vol. 8, pp. 89-107. [SUB: e-journal]

Nozawa, Shunsuke (2013), “Characterization,” Semiotic Review, no. 3 (Open Issue). http://www.semioticreview.com/pdf/open2013/nozawa_characterization.pdf

Onoda Power, Natsu (2009), God of Comics. Osamu Tezuka and the Creation of Post-World War II Manga, Jackson: University Press of Mississippi [SUB: e-book]

☆ Tsuge Yoshiharu “Screw Style [Nejishiki]” (Engl. transl. in The Comics Journal #250, 2003. http://sapcomics.blogspot.se/2011/09/nejishiki-screw-style.html

☆ Ursini, Francesco-Alessio (2017), “Themes, Focalization and the Flow of Information: The Case of Shingeki no Kyojin,” The Comics Grid: Journal of Comics Scholarship, 7(1): 2, pp.1-19. Web (open access journal). http://www.comicsgrid.com/articles/10.16995/cg.83/

Schedule

See TimeEdit for dates and location, www.su.se/asia

Session 1: Manga Studies, a new research field Introduction to additional readings (manga short stories in translation), uploaded to Mondo.

No pre-reading required for this class. Post-reading (for exam): Berndt, Jaqueline (2007), “Considering Manga Discourse: Location, Ambiguity, Historicity” [SUB: e-book] Post-reading (optional): Kukkonen, Karin (2013), Studying comics and graphic novels [SUB: e-book]; Berndt, Jaqueline (2014), “Manga Studies #1: Introduction,” Comics Forum (academic website for Comics Studies, Leeds University). Web. http://comicsforum.org/2014/05/11/manga-studies-1-introduction-by-jaqueline- berndt/

Session 2: Between Gutenberg Galaxy and digital age: The manga magazine as the core of market and culture

No pre-reading required for this class. Post-reading (for exam): Berndt, Jaqueline (2016), Chapter 8 “Manga, which Manga? Publication Formats, Genres, Users” [SUB: book + Mondo] Post-reading (optional): Berndt, Enno & Jaqueline (2015), “Magazines and Books: Changes in the Manga Market” [SUB: book + Mondo]; Brienza, Casey (2015), “Introduction,” in id., ed., Global Manga: “Japanese Comics” without Japan? [SUB: e-book].

Session 3: Manga as graphic narrative 1: Tezuka Osamu & his legacy

Pre-reading (required): Natsume, Fusanosuke (2013). “Where Is Tezuka?: A Theory of Manga Expression” [SUB: e-journal] Clarke, M.J. (2017), “Fluidity of figure and space in Osamu Tezuka’s Ode to Kirihito,” Journal of Graphic Novels and Comics, 26pp. [SUB: e-journal] Post-reading (optional): Onoda Power, Natsu (2009), God of Comics. Osamu Tezuka and the Creation of Post-World War II Manga, Jackson: University Press of Mississippi [SUB: e-book]

Session 4: Manga as graphic narrative 2: Pictotext, panels, changing frames

Pre-reading (required): Natsume, Fusanosuke __(2008). “Manga: Komatopia” [SUB: e-journal] __(2010). “Pictotext and panels,” Web. Post-reading (optional): Cohn, Neil (2013), The visual language of comics, Chapter 8 on manga. [SUB: e-book] Cohn, Neil (2010), “Japanese Visual Language: The Structure of Manga,” in Toni Johnson- Woods (ed.), Manga: An Anthology of Global and Cultural Perspectives. [SUB: e-book]

Session 5: Manga as graphic narrative 3: Focalization and serialization (ex. Attack on Titan)

Pre-reading (required): Ursini, Francesco-Alessio (2017), “Themes, Focalization and the Flow of Information: The Case of Shingeki no Kyojin,” Web (open access journal). Lefèvre, Pascal (2011), “Mise en scène and Framing: Visual Storytelling in Lone Wolf and Cub,” [SUB: book + Web]

Session 6: Narratives for non-infant readers and the counterculture of the 1960s: (ex. Tatsumi Yoshihiro; Tsuge Yoshiharu “Screw Style/Nejishiki”)

Pre-reading (required): Tsuge Yoshiharu “Screw Style [Nejishiki]” (Engl.). http://sapcomics.blogspot.se/2011/09/nejishiki-screw-style.html Reading (optional): Holmberg, Ryan (2011-2016), Columne “What was alternative manga?” The Comics Journal; Web.

Session 7: “Tezuka is dead”: Character-ization (ex. Full Metal Alchemist)

Pre-reading (required): Ito, Go (2011), “Tezuka is Dead: Manga in Transformation and its Dysfunctional Discourse,” [SUB: e-journal] Miyamoto, Hirohito (2012). “How Characters Stand Out,” [SUB: e-journal] Post-reading (optional): Berndt, Jaqueline (2013), “Ghostly: ‘Asian Graphic Narratives,’ Nonnonba, and Manga,” [last section summary of Ito Go’s monograph]. [SUB: e-book] Nozawa, Shunsuke (2013), “Characterization,” Semiotic Review, no. 3 (Open Issue). Web.

Session 8: Characters’ ethnicity

Pre-reading (required): Antononoka, Olga (2016). “Blonde is the new Japanese: Transcending race in shōjo manga”, Web. Nagaike, Kazumi (2009), “Elegant Caucasians, Amorous Arabs, and Invisible Others: Signs and Images of Foreigners in Japanese BL Manga”, Web. Post-reading (optional): Berndt, Jaqueline (2014), “SKIM as GIRL: Reading a Japanese North American Graphic Novel through Manga Lenses”, [especially last section]. [SUB: e-book] LaMarre, Thomas (2008), “Speciesism, Part I: Translating Races into Animals in Wartime Animation,” + (2010), “Speciesism, Part II: Tezuka Osamu and the Multispecies Ideal.” [SUB: e-journal]

Session 9: Representing the war-time past (ex. Maruo Suehiro “Planet of the Jap,” Hetalia, Kawaguchi Kaiji Zipangu)

Pre-reading (required): Luebke, Peter C. & Rachel DiNitto (2011), “Maruo Suehiro’s ‘Planet of the Jap’: Revanchist Fantasy or War Critique?”. [SUB: e-journal] Miyake, Toshio (2016), “History as Sexualized Parody: Love and Sex Between Nations in Axis Powers Hetalia”. [SUB: e-book] Post-reading (optional): Lefèvre, Pascal (2016), “What if the Japanese could alter WW2? Web. Berndt, Jaqueline (2015), “Historical Adventures of a Posthistorical Medium: Japan’s Wartime Past as Represented”. [SUB: book + Mondo]

Session 10: Archiving manga: Museums and Databases

No pre-reading required for this class. Reading (optional): Berndt, Jaqueline (2012), “Manga x Museum in Contemporary Japan,” Manhwa, Manga, Manhua: East Asian Comics Studies, Leipzig University Press, pp. 141-150. [SUB: book + Mondo]

Examinations, rules and student influence

Examination The form of examination for the course you are following is given in the syllabus and the course description; you will find both in the course compendium and on the home page. Many courses have written examinations that are taken in an examination hall at the end of the course. Other courses have take-home examinations, oral examinations or other examination assignments.

You must always register your name for a written examination in an examination hall. You do this via My studies, which you will find at mitt.su.se. That is one of the reasons it is important that you activate your university account, which you do via the same website. Take-home examinations and hand-in assignments do not require registration.

Special guidelines apply to examinations and they are the same for the whole of Stockholm University. See the Rule book, Book 2 http://www.su.se/regelboken/bok-2/utbildning-på-grundnivå-och-avancerad-nivå Rules for examination hall exams At a written exam in an examination hall the invigilator’s instructions apply. All students are obliged to follow the rules and instructions given by the invigilator and to show a valid ID card and any material they may have brought with them.

• Placing: Each student must sit where there is an examination paper put out or where the invigilator indicates a seat. It is not permitted to move the examination paper. • Leaving the examination hall: It is forbidden to leave the examination hall before 30 minutes after the exam has begun. • Coming late: Students who come more than 30 minutes late to an examination may not take part in the exam if another student has left the examination hall. Coming late does not entitle a student to extended examination time. • Personal belongings: Outer clothing and bags are to be placed where the invigilator indicates. • Paper: Examination answers may only be written on the paper that is handed out. This also applies to rough drafts. • Aids: At exams where aids such as dictionaries are allowed, the invigilator will check that there are no notes in the books. • Ban on speaking: It is forbidden for examination candidates to speak with each other or use mobile telephones after the exam has started. This also applies to visits to the bathrooms. • Breaks and bathroom visits: When an examination lasts more than five hours, there will a 30-minute break. The invigilator will indicate which bathrooms may be used and students must follow the invigilator’s instructions. • Handing-in: Examination candidates are forbidden to take their answer papers out of the examination hall. They must be handed personally to the invigilator. Note that even a blank answer paper must be handed to the invigilator before the student leaves the room. • Identification: When handing in the exam papers to the invigilator, students must show a valid ID1. Students must also write their signature at the place marked when handing their paper in if the invigilator requires it. • Cheating: Students who are suspected of cheating may continue to do the exam if they show and hand over a prohibited aid. The invigilator will offer the student a permitted aid in exchange. Any cheating and/or disturbing behaviour will be dealt with after a report from the Head of Department/Director of Studies by the University Vice-Chancellor as a disciplinary matter. Take-home examinations Just as with a written exam in an examination hall, a take-home exam must always be written independently unless otherwise specified in the course description. In most cases, take-home exams are handed in via the Mondo course portal. See the instructions in the course description.

For more details about how to use sources and references in your take-home exam, see the document entitled “Formal matters, using references and quotations”.

Special needs If you are in some way disabled, which means that you need special support and/or aids, always contact Service for disabled students ([email protected] or 08- 162878) in good time before the course starts.

You should then contact the Director of Studies at the Department of Asian, Middle Eastern and Turkish Studies ([email protected])

Available assistance includes, for example, adapting rooms, course textbooks as talking books, note-taking assistance, mentor support, extended time for exams and so on.

Course Evaluation After the completion of a course, as a student you have the right to express your opinions and experience of the course in the form of a course evaluation. Course evaluations are given anonymously in connection with exams or the last lesson of a course. Course evaluations are answered digitally via computer, mobile phone or the like. A link to the course evaluation is sent to your email address and must normally be answered within one week.

The result of the course evaluations is then available for you as a student in a file in the Student Office shortly after a course has been completed.

If for some reason you have not been able to fill in a course evaluation for a course you have taken, you can get in touch with the Student Office ([email protected]).

1 Types of ID that are accepted are: a driving licence, a passport and a valid ID card. A police report that is not more than three months old showing that the candidate’s ID has been stolen or lost is also accepted. Foreign IDs are also accepted, preferably a passport and ID card, provided that the ID document does not need to be translated for the candidate to be identified. Formalities: source criticism and plagiarism

Source criticism Remember always to be critical of the sources you use and choose them carefully. It is always important to be able to explain why you chose a certain source.

Being critical of your sources is particularly important when you use information taken from the Internet. Check, for example, who wrote the information on the home page you use, why the home page has been created (e.g. for propaganda purposes). At Skolverket (The Swedish National Agency for Education) you will find some simple questions you can use to judge whether a home page is reliable. See http://www.skolverket.se/skolutveckling/resurser-for- larande/kollakallan/kallkritik/fakta/lathund-1.151074

Wikipedia is an example of a home page that is not considered a reliable source when you write an essay or a take-home exam. The reason is that voluntary contributors from all over the world have written the information found there. That means that the contents are open and free and everyone is able to add and take away information from Wikipedia.

For more books on thinking critically, see for example: • Pernilla Hultén, Kritiskt tänkande, Malmö: Liber Förlag, 2007 • Thorsten Thurén, Källkritik, Stockholm, Liber AB, 2005

Writing an essay There are many books and online guides you can use for support when you write your essay. Even though the requirements may vary a little from one supervisor to another, there is a great deal that is common to all essay writing at the university.

Stockholm University Library has a guide for essay writing: http://su.se/biblioteket/söka-och-använda/skriva-uppsats

The Library also offers help in English: http://su.se/english/library/search-use/writing-an-essay

In Swedish there is also Att skriva en bra uppsats, Rienecker & Jörgensen (Nordli, Harald transl.) Lund: Liber Förlag, 2004

See also Olle Josephson and Arne Jarrick, Från tanke till text, en språkhandbok för uppsatsskrivande studenter, Lund: Studentlitteratur, 1996. Plagiarism You may certainly study together with your student friends, but remember that examination assignments and essays are normally done independently unless otherwise indicated in the course description.

When your examination assignment or your essay is to be handed in, it is important that you work independently. You are not permitted to plagiarise from a student colleague, a book or an Internet source.

Plagiarism means using something that someone else has written without giving the source. Since much of what you write as a university student is based on previous research, you will need to use other sources. That is why it is very important that you are careful about where you get your information. (Read more about this under “Formalities, references and quotations” below.

You may feel uncertain about how you should deal with plagiarism; in that case, you can always ask the teacher who runs your course. You can also look at Gothenburg University’s anti-plagiarism guide: http://www.ub.gu.se/ref/Refero/

See also URKUND’s Plagiarism Handbook (in Swedish): http://static.urkund.com/manuals/URKUND_Plagiarism_Handbook_SE.pdf

Co-operation with a number of universities in Sweden including Linköping University and Umeå University has resulted in the site Skrivguiden where you can get support for your academic writing: http://skrivguiden.se

In many cases, it is misunderstanding that leads to suspicions of cheating, so it is extra important that you are careful always to state the sources you have used.

Turnitin The Turnitin program checks all examination assignments in the form of take-home exams and essays before they are given to the teacher for correction.

Turnitin is a text-matching tool that compares your information with that of other students, and with books and Internet sources.

If a teacher suspects some form of cheating, she or he is obliged to report it to the Director of Studies or the equivalent at the Department of Asian, Middle Eastern and Turkish Studies, who in turn has to report the suspicion to the Disciplinary Committee at Stockholm University. It is the Disciplinary Committee that decides whether or not something is to be regarded as cheating, not the Department of Asian, Middle Eastern and Turkish Studies, which only reports a suspicion of cheating. The reason for this is to ensure that the student who is suspected of cheating will get a fair hearing.

Formalities: references and quotations

When you write an examination assignment in the form of an essay or a take-home exam, it is important that you are careful to report the sources you have used in your work. This is done by giving references, in the form of notes and a list of sources.

There are many books about the way to deal with references, both at the library and on the Internet. Below you will find a summary of some of the things that are important to bear in mind concerning references.

When you write an examination assignment (a BA or MA thesis) you should also take into account what applies to your particular course. See the description of the course you are taking.

References in texts, different models There are various models for dealing with references in texts. Two commonly used ones are the Harvard Model and the Oxford Model.

The Harvard Model means that you refer directly in the text, while the Oxford Model means that you refer in a footnote (see the examples below). Neither of these models is right or wrong, but in your particular field there may be a tradition of using one or the other. It is important for you to be consistent in your choice of model, so that you always choose to refer in, for example, footnotes if that is what you decide on.

Quotations, about the use of notes Quotations are commonly used in texts. Quoting means that you reproduce verbatim something that someone else has said or written. A quotation must always be given exactly, even if it contains spelling mistakes. After the quotation you must always state where it comes from. You do this directly afterwards, either in a footnote or in brackets, depending on the model you have chosen.

If there is a spelling mistake in the quotation, you can indicate it with [sic] directly after the spelling mistake to show that that you are not the one who has made the mistake. If the spelling mistake is particularly serious, you can write [sic!].

A reference after a quotation according to the Harvard Model can look like this: “A reasonable requirement for a scientific conceptual apparatus is that it is possible to use it in practice.” (Persson & Sahlin, 2013:205).

A reference after a quotation in the form of a footnote according to the Oxford Model can look like this: “A reasonable requirement for a scientific conceptual apparatus is that it is possible to use it in practice.”2

2 Johannes Persson & Nils-Eric Sahlin. Vetenskapsteori för sanningssökare: Fri Tanke Förlag, 2013, 205. Long quotations If a quotation is short, as in the examples above, it is placed directly in the text. If the quotation is a long one, it should be placed in a paragraph of its own, for example:

För den franske litteratur- och kulturteoretikern Roland Barthes är det centralt att berättarinstansen skiljs ifrån författarens och berättelsens subjekt (1988). Den som talar i berättelsen är inte den som skriver i verkliga livet. Och den som skriver är inte den som är. Det finns enligt Barthes två olika sorters berättarpositioner: berättaren som personlig eller opersonlig berättarinstans. Detta motsvarar inte givet skillnaden mellan en berättare i första respektive tredje person. En berättelse kan skrivas i tredje person och ändå vara personlig.3 or (Johansson, 2005:39).

Note that the quotation above is placed in a paragraph of its own, with an empty line at the beginning and at the end, and that it has a margin on both sides. A quotation of this kind need not have quotation marks at the beginning and end. Quotations within quotations If the person you quote has in turn quoted someone else, this should be shown within single quotation marks, for example:

“Finally, upon reaching the attractive landscapes in Mitava, he writes: ‘The countryside here is much prettier than Livonia, through which one would not regret to travel with his eyes half closed.’”4 4 or (Lewis, 1995:57).

Referring to the same author and work immediately after each other If you quote or refer to the same author and work immediately after each other, you need not rewrite the whole reference. Instead, write “ibid” if it also refers to the same page. If it refers to another page in the same work and by the same author, write “ibid, 43”.5

Summary A summary is an account of an author’s text in your own words. This makes it possible for you to choose what you feel is central or what you feel is most relevant for your assignment. If you insert your own opinions or suppositions, you must be very sure to indicate that.

You need not use quotation marks in a summary but you must indicate the reference so that the reader can find the source. Put the reference in brackets in the text or in the form of a footnote (see above).

3 Anna Johansson. Narrativ teori och metod. Lund: Studentlitteratur, 2005, 139. 4 S. Mark Lewis, Modes of Historical Discourse in J.G Herder and N.M Karamzin. New York: Peter Lang Publishing Inc, 1995, 57. 5 Ibid means “in the same place” and is an abbreviation of the Latin ibidem

List of References/Bibliography The List of References, also called Bibliography, is the list of books and articles you have used when writing your examination assignment. The List of References must always be given at the end and if you like you can divide it into Primary and Secondary Sources, or Internet-based material, Articles, Interviews and so on if you have used such material.

The List of References must be in alphabetical order according to the author’s family name and may look like this:

Hamori, Andras, On the Art of Medieval Arabic Literature, Princeton, New Jersey: Princeton University Press.

If you have used two or more books by the same author, you need not write the author’s name more than once. Note that the books should be arranged chronologically. It may look like this:

Mernessi, Fatima. Women and Islam. An Historical and Theological Enquiry. Oxford: Blackwell Publishers. 1991. ______, Women’s Rebellion & Islamic Memory. London and New Jersey: Zed Books. 1996.

Chapters in a book When you refer to a whole book, you need not give the number of pages, but if you use one chapter in an anthology, you should give the page numbers in your bibliography, for example:

Lee, Peter & Ashby, Rosalyn. “Progression in Historical Understanding among Students Ages 7-14”, Knowing, Teaching & Learning History. National and International Perspectives, edited by Peter N. Stearns, Peter Seixas and Sam Wineburg, New York and London: New York University Press. 2000. pp. 199-222.

Articles If your source is an article, it may look like this in your bibliography:

Kessy, Emanuel Thomas. “The Transition from The Later Stone Age to Iron Age in Kondoa, Central Tanzania”, in The African Archaeological Review. Vol. 30 No. 3 September 2013, pp 225-252.

Internet sources If your source is a page from the Internet, for example from a work of reference, there is often a note on how to refer to it on the same page. What distinguishes an Internet source from a printed source is that you indicate when you have read the page.

Reading tips on the Internet http://www.chicagomanualofstyle.org/16/contents.html