East Asian Languages and Cultures

CHINGEN 10SC. The Cult of Happiness: Pursuing the Good Life in America and China. 2 Units.

The 2006 film Pursuit of Happyness, an unabashed celebration of the American Dream, was enthusiastically embraced by Chinese audiences. It seems that the pursuit of happiness has become truly globalized, even as the American Dream is slipping away for many. Are Americans still convinced that their conception of happiness is a self-evident truth and a universal gospel? Is there anything that Americans might learn about what it means to live a good life from not only the distant past, but also cultures in which happiness is conceptualized and sought after very differently? This course takes a multi-disciplinary approach to the question of happiness and invites undergraduate students to reflect on its relationship to virtue, wisdom, health, love, prosperity, justice, and solidarity. Giving equal weight to Chinese and Western sources, it seeks to defamiliarize some of the most deeply held ideas and values in American society through the lens of cross-cultural inquiry.n nDuring the summer, students will read a selection of novels, memoirs, and reflections by philosophers, psychologists, and sociologists. In September, we will review these texts and place them alongside movies, short fiction, news stories, and social commentary while we interrogate the chimera of happiness. In addition to daily seminars, we will experiment with meditation, short-form life writing, and service learning with participation of local elders. Furthermore, there will be at least three guest speakers, including a prominent Confucian philosopher and a Stanford alum now running a happiness-related enterprise. nSophomore College Course: Application required, due noon, April 7, 2015. Apply at http://soco.stanford.edu.
Same as: COMPLIT 10SC

CHINGEN 70N. Animal Planet and the Romance of the Species. 3-4 Units.

Preference to freshmen.This course considers a variety of animal characters in Chinese and Western literatures as potent symbols of cultural values and dynamic sites of ethical reasoning. What does pervasive animal imagery tell us about how we relate to the world and our neighbors? How do animals define the frontiers of humanity and mediate notions of civilization and culture? How do culture, institutions, and political economy shape concepts of human rights and animal welfare? And, above all, what does it mean to be human in the pluralistic and planetary 21st century?.
Same as: COMPLIT 70N

CHINGEN 73. Chinese Language, Culture, and Society. 4 Units.

Topics include the origin of Chinese, development of dialects, emergence of the standard, preferred formulaic expressions, the evolution of writing, and language policies in greater China. Prerequisite: CHINLANG 1 or 1B, or equivalent.
Same as: CHINGEN 173

CHINGEN 73N. Chinese Language, Culture, and Society. 4 Units.

Functions of languages in Chinese culture and society, origin of the Chinese language, genetic relations with neighboring languages, development of dialects, language contacts, evolution of Chinese writing, language policies in Greater China. Prerequisite: one quarter of Chinese 1 or 1B or equivalent recommended. Freshman seminar.
Same as: CHINGEN 170

CHINGEN 91. Introduction to China. 5 Units.

Required for Chinese and Japanese majors. Introduction to Chinese culture in a historical context. Topics include political and socioeconomic institutions, religion, ethics, education, and art and literature.

CHINGEN 95. Beauty and Decadence in China. 4-5 Units.

An inquiry into the conception of aesthetic beauty in China. Special attention to the coupling of aesthetics ("beauty") and morality ("goodness") in the visualnand literary arts, as well as the frequent dissonance or rivalry between them.
Same as: CHINGEN 195

CHINGEN 101. How to Be Modern in China: A Gateway to the World Course. 3-4 Units.

A gateway course on China, with a focus on the politics of everyday life, in the capital city of Beijing. Introduction to the history and politics of modern China. The pleasures, frictions, and challenges of daily living in the penumbra of power in Beijing as reported, represented, and reflected upon in fiction, film, reportage, social commentary, and scholarly writings. Priority to those preparing to participate in BOSP-Beijing Program or returning from the program.

CHINGEN 118. Constructing National History in East Asian Archaeology. 3-5 Units.

Archaeological studies in contemporary East Asia share a common concern, to contribute to building a national narrative and cultural identity. This course focuses on case studies from China, Korea, and Japan, examining the influence of particular social-political contexts, such as nationalism, on the practice of archaeology in modern times.
Same as: ARCHLGY 135, ARCHLGY 235, CHINGEN 218

CHINGEN 119. Popular Culture and Casino Capitalism in China. 3-4 Units.

Examination of different forms of Chinese popular culture used to gauge or control fate and uncertainty, from geomancy and qigong to ghost culture and mahjong. Ways in which Chinese are incorporating these cultural forms into the informal economy to get rich quick: rotating credit associations, stock market speculation, pyramid schemes, underground lotteries, counterfeiting. Impact of casino capitalism on Chinese culture and social life today.
Same as: CHINGEN 219

CHINGEN 120. Soldiers and Bandits in Chinese Culture. 3-5 Units.

Social roles and literary images of two groups on the margins of traditional Chinese society; historical and comparative perspectives.
Same as: CHINGEN 220

CHINGEN 121. Classical Chinese Rituals. 3-5 Units.

Meanings of rituals regarding death, wedding, war, and other activities; historical transformations of classical rituals throughout the premodern period; legacy of the Chinese ritual tradition. Sources include canonical texts.
Same as: CHINGEN 221

CHINGEN 131. Chinese Poetry in Translation. 4 Units.

From the first millennium B.C. through the 12th century. Traditional verse forms representative of the classical tradition; highlights of the most distinguished poets. History, language, and culture. Chinese language not required.
Same as: CHINGEN 231

CHINGEN 132. Chinese Fiction and Drama in Translation. 4 Units.

From early times to the 18th century, emphasizing literary and thematic discussions of major works in English translation.
Same as: CHINGEN 232

CHINGEN 133. Literature in 20th-Century China. 4-5 Units.

(Graduate students register for 233.) How modern Chinese culture evolved from tradition to modernity; the century-long drive to build a modern nation state and to carry out social movements and political reforms. How the individual developed modern notions of love, affection, beauty, and moral relations with community and family. Sources include fiction and film clips. WIM course.
Same as: CHINGEN 233

CHINGEN 134. Early Chinese Mythology. 3-5 Units.

The definition of a myth. Major myths of China prior to the rise of Buddhism and Daoism including: tales of the early sage kings such as Yu and the flood; depictions of deities in the underworld; historical myths; tales of immortals in relation to local cults; and tales of the patron deities of crafts.
Same as: CHINGEN 234

CHINGEN 135. Chinese Bodies, Chinese Selves. 3-5 Units.

Interdisciplinary. The body as a contested site of representational practices, identity politics, cultural values, and social norms. Body images, inscriptions, and practices in relation to health, morality, gender, sexuality, nationalism, consumerism, and global capitalism in China and Taiwan. Sources include anthropological, literary, and historical studies, and fiction and film. No knowledge of Chinese required.
Same as: CHINGEN 235

CHINGEN 136. The Chinese Family. 3-5 Units.

History and literature. Institutional, ritual, affective, and symbolic aspects. Perspectives of gender, class, and social change.
Same as: CHINGEN 236

CHINGEN 137. Tiananmen Square: History, Literature, Iconography. 3-5 Units.

Multidisciplinary. Literary and artistic representations of this site of political and ideological struggles throughout the 20th century. Tiananmen-themed creative, documentary, and scholarly works that shed light on the dynamics and processes of modern Chinese culture and politics. No knowledge of Chinese required. Held in Knight Bldg. Rm. 18.
Same as: CHINGEN 237

CHINGEN 138. Love, Passion, and Politics in Chinese Film. 4-5 Units.

Focusing on the emotional structure of love and passion in Chinese films, the course will investigate the structures of feelings and moral relations in modern Chinese history from the 1940s till the present. Examining the interplay between private desire, romantic sentiment, family relations, and political passion, we will explore how men and women in China grapple with emotional and social issues in modern transformations. We will consider romantic love, the uplifting of sexuality into political passion, the intertwining of aesthetic experience with politics, nostalgia in the disenchanted modern world, and the tensions between the individual¿s self-realization and the community¿s agenda. Students will learn to ¿read¿ films as a work of art and understand how film works as expression of desire, impulse, emotional connections, and communal bonding during times of crisis. Course work includes a midterm exam (25%) and a final exam (25%), a weekly 250-300 word reflection on the film of the week (10%), participation and oral presentation in class (10%), and a paper of 5-7 pages to be submitted after the midterm week (30%).nnStarting from the second week, film screening will begin 6: 30 pm Monday before classes on Tuesday and Thursday. The course does not encourage private viewing. At least 5 dinners will be provided for movie-screening events.
Same as: CHINGEN 238

CHINGEN 139. Cultural Revolution as Literature. 4 Units.

Literary form, aesthetic sensibility, and themes of trauma, identity, and the limits of representation in major literary works concerning the Cultural Revolution in China. Recommended: background in Chinese history or literature.
Same as: CHINGEN 239

CHINGEN 140. Chinese Justice: Law, Morality, and Literature. 3-5 Units.

Explores the relationship between law and morality in Chinese literature, culture, and society. Readings include court case romances, crime plays, detective novels, and legal dramas from traditional era and modern and contemporary periods. Prior coursework in Chinese history, civilization, or literature is recommended. All readings are in English.
Same as: CHINGEN 240

CHINGEN 141. Emergence of Chinese Civilization from Caves to Palaces. 3-4 Units.

Introduces processes of cultural evolution from the Paleolithic to the Three Dynasties in China. By examining archaeological remains, ancient inscriptions, and traditional texts, four major topics will be discussed: origins of modern humans, beginnings of agriculture, development of social stratification, and emergence of states and urbanism.
Same as: ARCHLGY 111, CHINGEN 241

CHINGEN 143. Images of Women in Ancient China and Greece. 3-5 Units.

(Formerly CLASSGEN 153/253.) Representation of women in ancient Chinese and Greek texts. How men viewed women and what women had to say about themselves and their societies. Primary readings in poetry, drama, and didactic writings. Relevance for understanding modern concerns; use of comparison for discovering historical and cultural patterns.
Same as: CHINGEN 243, CLASSICS 143, CLASSICS 243

CHINGEN 144. Science, Magic, and Religion in Early China. 3-5 Units.

If the categories we use to think about the world are products of particular cultural and historical experiences, what happens when we bring the categories of the modern West to bear on early China? In this seminar, we will examine early Chinese technologies designed to achieve ethical, physical, or political transformation, and technologies designed to interpret signs, in terms of three classical anthropological categories: science, magic, and religion. How may we apply science, magic, and religion to early China, and what problems might we encounter in doing so? What alternative terms do our sources present, and what questions might they allow us to ask? How was knowledge created in early China, and how do our categories shape the knowledge we create about early China?.
Same as: CHINGEN 244

CHINGEN 146. Gods, Ghosts, and Ancestors: Anthropology of Chinese Folk Religion. 3-5 Units.

.
Same as: CHINGEN 246

CHINGEN 148. Love and Revenge. 2-4 Units.

Readings of Tang and Song period stories, anecdotal literature, poetry, and song lyrics on the themes of romantic love, unfaithfulness, and revenge. In a society of parental arranged marriage, romantic love (usually outside marriage) takes on its own special meaning, forms of expression, and dangers.
Same as: CHINGEN 248

CHINGEN 150. Sex, Gender, and Power in Modern China. 3-5 Units.

Investigates how sex, gender, and power are entwined in the Chinese experience of modernity. Topics include anti-footbinding campaigns, free love/free sex, women's mobilization in revolution and war, the new Marriage Law of 1950, Mao's iron girls, postsocialist celebrations of sensuality, and emergent queer politics. Readings range from feminist theory to China-focused historiography, ethnography, memoir, biography, fiction, essay, and film. All course materials are in English.
Same as: CHINGEN 250, FEMGEN 150, FEMGEN 250

CHINGEN 151. Manuscripts, Circulation of Texts, Printing. 3-4 Units.

History of texts before the advent of printing as well as during the early period of printing, focus on Tang and Song periods. Attention to the material existence of texts, their circulation, reading habits before and after printing, the balance between orality and writing, the role of memorization, and rewriting during textual transmission. Readings in English.
Same as: CHINGEN 251

CHINGEN 152. Beijing: Microcosm of Modern China. 3-4 Units.

Uses Beijing as a microcosm of China to examine the political, social, and cultural transformations of modern China. Explores critical issues affecting modern Chinese history and contemporary Chinese society through lectures, videos, presentations, and discussions.
Same as: CHINGEN 252

CHINGEN 153. Beijing and Shanghai: Twin Cities in Chinese History. 3-5 Units.

This course discusses a story of twin cities ¿ Beijing and Shanghai, from the imperial period to the present day. The historical movement of people, goods, knowledge, thoughts, technology and shifting of political power and cultural authority has closely linked the two cities together. No other two cities in the Chinese map have more communications, interactions, and mutual influences than Beijing and Shanghai. Indeed, geographic localities, ethnic traits, material lives, and foreign contacts have produced distinct cultural landscapes and patterns of urban development of the twin cities, which provide us with a good case of comparative studies. In Beijing and Shanghai, contemporary forces, including migration, industrialization, marketization, decentralization and globalization are transforming the urban societies. Both of them take center stage in China¿s drama of explosive growth and unprecedented changes. They continue to compete and influence each other in many ways.
Same as: CHINGEN 253

CHINGEN 155. Cultural Images in China-US Relations. 3-5 Units.

New interpretation of the history of China-U.S. relations, 1784-2008, using image studies. Attention to people-to-people communication, cultural interaction, and political imagination during different times and power structures. Discussion of change and continuity of cultural images in textual descriptions, visual materials, symbolic and virtual identities in historical context. Understand how people in China and the United States created, presented, interpreted, and remembered cultural images of each other and how these images affected and were affected by their foreign policies and bilateral relations.
Same as: CHINGEN 255

CHINGEN 160. New Directions in the Study of Poetry and Literati Culture. 3-4 Units.

Inquiry into new approaches and interpretations of the poetic tradition in China in the context of cultural history. Readings in recent scholarship and criticism that situate poetry in print history, manuscript culture, gender studies, social history, etc. Readings in English. Reading knowledge of Chinese desirable but not required.
Same as: CHINGEN 260

CHINGEN 169. What is Chinese Theater? The Formation of a Tradition. 3-4 Units.

A survey of Chinese drama from its origins to late imperial China. Explores theories of the origins of Chinese drama, contrasting theories with the documented beginnings of theater and its first texts. How traditions turned into "elite theater" in the Ming and Qing dynasties, and how esthetic norms and moral values went into the process of theatrical transformation.
Same as: CHINGEN 269

CHINGEN 170. Chinese Language, Culture, and Society. 4 Units.

Functions of languages in Chinese culture and society, origin of the Chinese language, genetic relations with neighboring languages, development of dialects, language contacts, evolution of Chinese writing, language policies in Greater China. Prerequisite: one quarter of Chinese 1 or 1B or equivalent recommended. Freshman seminar.
Same as: CHINGEN 73N

CHINGEN 173. Chinese Language, Culture, and Society. 4 Units.

Topics include the origin of Chinese, development of dialects, emergence of the standard, preferred formulaic expressions, the evolution of writing, and language policies in greater China. Prerequisite: CHINLANG 1 or 1B, or equivalent.
Same as: CHINGEN 73

CHINGEN 193E. Female Divinities in China. 3-5 Units.

The role of powerful goddesses, such as the Queen Mother of the West, Guanyin, and Chen Jinggu, in Chinese religion. Imperial history to the present day. What roles goddesses played in the spirit world, how this related to the roles of human women, and why a civilization that excluded women from the public sphere granted them such a major, even dominant place, in the religious sphere. Readings in English-language secondary literature.
Same as: CHINGEN 393E

CHINGEN 194. The History and Culture of Peking Opera. 3-4 Units.

Explores the history and culture of Peking opera from its regional origins to a major national form. It will focus on genre formation, the professional and social position of actors and the political role of Peking opera. In addition to academic texts, we will read memoirs, biographies and watch videos and movies.
Same as: CHINGEN 294

CHINGEN 195. Beauty and Decadence in China. 4-5 Units.

An inquiry into the conception of aesthetic beauty in China. Special attention to the coupling of aesthetics ("beauty") and morality ("goodness") in the visualnand literary arts, as well as the frequent dissonance or rivalry between them.
Same as: CHINGEN 95

CHINGEN 196. The Culture of Entertainment in China. 3-4 Units.

Sophisticated, organized entertainment in China is evident at least as early as nthe second century B.C. in the court spectacles described in the early histories nand in the depictions of jugglers, dancers and acrobats represented in tomb nbas-reliefs. The importance attached to entertainment from ancient times both at court and in society at large is manifest not just in the establishment of nimperial institutions such as the Music Bureau, but also in the appearance of nlarge entertainment districts within the cities where people would invest nextraordinary amount of resources in the pursuit of pleasure, and in small scale ngatherings. This class will look at the representation of play and pleasure in nChinese culture from a variety of sources (art, history, literature and nperformance) in different periods of Chinese history. In the process we will naddress the place of pleasure in Chinese culture, as well as ethical, socio-npolitical and economical concerns. Held in old Knight Bldg., 521 Memorial Way, Rm. 102.
Same as: CHINGEN 296

CHINGEN 198. Senior Colloquium in Chinese Studies. 1 Unit.

Students research, write, and present a capstone essay or honors thesis.

CHINGEN 200. Directed Readings in Asian Languages. 1-12 Unit.

For Chinese literature. Prerequisite: consent of instructor. (Staff).

CHINGEN 201. Teaching Chinese Humanities. 1 Unit.

Prepares graduate students to teach humanities at the undergraduate level. Topics include syllabus development and course design, techniques for generating discussion, effective grading practices, and issues particular to the subject matter.

CHINGEN 218. Constructing National History in East Asian Archaeology. 3-5 Units.

Archaeological studies in contemporary East Asia share a common concern, to contribute to building a national narrative and cultural identity. This course focuses on case studies from China, Korea, and Japan, examining the influence of particular social-political contexts, such as nationalism, on the practice of archaeology in modern times.
Same as: ARCHLGY 135, ARCHLGY 235, CHINGEN 118

CHINGEN 219. Popular Culture and Casino Capitalism in China. 3-4 Units.

Examination of different forms of Chinese popular culture used to gauge or control fate and uncertainty, from geomancy and qigong to ghost culture and mahjong. Ways in which Chinese are incorporating these cultural forms into the informal economy to get rich quick: rotating credit associations, stock market speculation, pyramid schemes, underground lotteries, counterfeiting. Impact of casino capitalism on Chinese culture and social life today.
Same as: CHINGEN 119

CHINGEN 220. Soldiers and Bandits in Chinese Culture. 3-5 Units.

Social roles and literary images of two groups on the margins of traditional Chinese society; historical and comparative perspectives.
Same as: CHINGEN 120

CHINGEN 221. Classical Chinese Rituals. 3-5 Units.

Meanings of rituals regarding death, wedding, war, and other activities; historical transformations of classical rituals throughout the premodern period; legacy of the Chinese ritual tradition. Sources include canonical texts.
Same as: CHINGEN 121

CHINGEN 231. Chinese Poetry in Translation. 4 Units.

From the first millennium B.C. through the 12th century. Traditional verse forms representative of the classical tradition; highlights of the most distinguished poets. History, language, and culture. Chinese language not required.
Same as: CHINGEN 131

CHINGEN 232. Chinese Fiction and Drama in Translation. 4 Units.

From early times to the 18th century, emphasizing literary and thematic discussions of major works in English translation.
Same as: CHINGEN 132

CHINGEN 233. Literature in 20th-Century China. 4-5 Units.

(Graduate students register for 233.) How modern Chinese culture evolved from tradition to modernity; the century-long drive to build a modern nation state and to carry out social movements and political reforms. How the individual developed modern notions of love, affection, beauty, and moral relations with community and family. Sources include fiction and film clips. WIM course.
Same as: CHINGEN 133

CHINGEN 234. Early Chinese Mythology. 3-5 Units.

The definition of a myth. Major myths of China prior to the rise of Buddhism and Daoism including: tales of the early sage kings such as Yu and the flood; depictions of deities in the underworld; historical myths; tales of immortals in relation to local cults; and tales of the patron deities of crafts.
Same as: CHINGEN 134

CHINGEN 235. Chinese Bodies, Chinese Selves. 3-5 Units.

Interdisciplinary. The body as a contested site of representational practices, identity politics, cultural values, and social norms. Body images, inscriptions, and practices in relation to health, morality, gender, sexuality, nationalism, consumerism, and global capitalism in China and Taiwan. Sources include anthropological, literary, and historical studies, and fiction and film. No knowledge of Chinese required.
Same as: CHINGEN 135

CHINGEN 236. The Chinese Family. 3-5 Units.

History and literature. Institutional, ritual, affective, and symbolic aspects. Perspectives of gender, class, and social change.
Same as: CHINGEN 136

CHINGEN 237. Tiananmen Square: History, Literature, Iconography. 3-5 Units.

Multidisciplinary. Literary and artistic representations of this site of political and ideological struggles throughout the 20th century. Tiananmen-themed creative, documentary, and scholarly works that shed light on the dynamics and processes of modern Chinese culture and politics. No knowledge of Chinese required. Held in Knight Bldg. Rm. 18.
Same as: CHINGEN 137

CHINGEN 238. Love, Passion, and Politics in Chinese Film. 4-5 Units.

Focusing on the emotional structure of love and passion in Chinese films, the course will investigate the structures of feelings and moral relations in modern Chinese history from the 1940s till the present. Examining the interplay between private desire, romantic sentiment, family relations, and political passion, we will explore how men and women in China grapple with emotional and social issues in modern transformations. We will consider romantic love, the uplifting of sexuality into political passion, the intertwining of aesthetic experience with politics, nostalgia in the disenchanted modern world, and the tensions between the individual¿s self-realization and the community¿s agenda. Students will learn to ¿read¿ films as a work of art and understand how film works as expression of desire, impulse, emotional connections, and communal bonding during times of crisis. Course work includes a midterm exam (25%) and a final exam (25%), a weekly 250-300 word reflection on the film of the week (10%), participation and oral presentation in class (10%), and a paper of 5-7 pages to be submitted after the midterm week (30%).nnStarting from the second week, film screening will begin 6: 30 pm Monday before classes on Tuesday and Thursday. The course does not encourage private viewing. At least 5 dinners will be provided for movie-screening events.
Same as: CHINGEN 138

CHINGEN 239. Cultural Revolution as Literature. 4 Units.

Literary form, aesthetic sensibility, and themes of trauma, identity, and the limits of representation in major literary works concerning the Cultural Revolution in China. Recommended: background in Chinese history or literature.
Same as: CHINGEN 139

CHINGEN 240. Chinese Justice: Law, Morality, and Literature. 3-5 Units.

Explores the relationship between law and morality in Chinese literature, culture, and society. Readings include court case romances, crime plays, detective novels, and legal dramas from traditional era and modern and contemporary periods. Prior coursework in Chinese history, civilization, or literature is recommended. All readings are in English.
Same as: CHINGEN 140

CHINGEN 241. Emergence of Chinese Civilization from Caves to Palaces. 3-4 Units.

Introduces processes of cultural evolution from the Paleolithic to the Three Dynasties in China. By examining archaeological remains, ancient inscriptions, and traditional texts, four major topics will be discussed: origins of modern humans, beginnings of agriculture, development of social stratification, and emergence of states and urbanism.
Same as: ARCHLGY 111, CHINGEN 141

CHINGEN 243. Images of Women in Ancient China and Greece. 3-5 Units.

(Formerly CLASSGEN 153/253.) Representation of women in ancient Chinese and Greek texts. How men viewed women and what women had to say about themselves and their societies. Primary readings in poetry, drama, and didactic writings. Relevance for understanding modern concerns; use of comparison for discovering historical and cultural patterns.
Same as: CHINGEN 143, CLASSICS 143, CLASSICS 243

CHINGEN 244. Science, Magic, and Religion in Early China. 3-5 Units.

If the categories we use to think about the world are products of particular cultural and historical experiences, what happens when we bring the categories of the modern West to bear on early China? In this seminar, we will examine early Chinese technologies designed to achieve ethical, physical, or political transformation, and technologies designed to interpret signs, in terms of three classical anthropological categories: science, magic, and religion. How may we apply science, magic, and religion to early China, and what problems might we encounter in doing so? What alternative terms do our sources present, and what questions might they allow us to ask? How was knowledge created in early China, and how do our categories shape the knowledge we create about early China?.
Same as: CHINGEN 144

CHINGEN 246. Gods, Ghosts, and Ancestors: Anthropology of Chinese Folk Religion. 3-5 Units.

.
Same as: CHINGEN 146

CHINGEN 248. Love and Revenge. 2-4 Units.

Readings of Tang and Song period stories, anecdotal literature, poetry, and song lyrics on the themes of romantic love, unfaithfulness, and revenge. In a society of parental arranged marriage, romantic love (usually outside marriage) takes on its own special meaning, forms of expression, and dangers.
Same as: CHINGEN 148

CHINGEN 250. Sex, Gender, and Power in Modern China. 3-5 Units.

Investigates how sex, gender, and power are entwined in the Chinese experience of modernity. Topics include anti-footbinding campaigns, free love/free sex, women's mobilization in revolution and war, the new Marriage Law of 1950, Mao's iron girls, postsocialist celebrations of sensuality, and emergent queer politics. Readings range from feminist theory to China-focused historiography, ethnography, memoir, biography, fiction, essay, and film. All course materials are in English.
Same as: CHINGEN 150, FEMGEN 150, FEMGEN 250

CHINGEN 251. Manuscripts, Circulation of Texts, Printing. 3-4 Units.

History of texts before the advent of printing as well as during the early period of printing, focus on Tang and Song periods. Attention to the material existence of texts, their circulation, reading habits before and after printing, the balance between orality and writing, the role of memorization, and rewriting during textual transmission. Readings in English.
Same as: CHINGEN 151

CHINGEN 252. Beijing: Microcosm of Modern China. 3-4 Units.

Uses Beijing as a microcosm of China to examine the political, social, and cultural transformations of modern China. Explores critical issues affecting modern Chinese history and contemporary Chinese society through lectures, videos, presentations, and discussions.
Same as: CHINGEN 152

CHINGEN 253. Beijing and Shanghai: Twin Cities in Chinese History. 3-5 Units.

This course discusses a story of twin cities ¿ Beijing and Shanghai, from the imperial period to the present day. The historical movement of people, goods, knowledge, thoughts, technology and shifting of political power and cultural authority has closely linked the two cities together. No other two cities in the Chinese map have more communications, interactions, and mutual influences than Beijing and Shanghai. Indeed, geographic localities, ethnic traits, material lives, and foreign contacts have produced distinct cultural landscapes and patterns of urban development of the twin cities, which provide us with a good case of comparative studies. In Beijing and Shanghai, contemporary forces, including migration, industrialization, marketization, decentralization and globalization are transforming the urban societies. Both of them take center stage in China¿s drama of explosive growth and unprecedented changes. They continue to compete and influence each other in many ways.
Same as: CHINGEN 153

CHINGEN 255. Cultural Images in China-US Relations. 3-5 Units.

New interpretation of the history of China-U.S. relations, 1784-2008, using image studies. Attention to people-to-people communication, cultural interaction, and political imagination during different times and power structures. Discussion of change and continuity of cultural images in textual descriptions, visual materials, symbolic and virtual identities in historical context. Understand how people in China and the United States created, presented, interpreted, and remembered cultural images of each other and how these images affected and were affected by their foreign policies and bilateral relations.
Same as: CHINGEN 155

CHINGEN 260. New Directions in the Study of Poetry and Literati Culture. 3-4 Units.

Inquiry into new approaches and interpretations of the poetic tradition in China in the context of cultural history. Readings in recent scholarship and criticism that situate poetry in print history, manuscript culture, gender studies, social history, etc. Readings in English. Reading knowledge of Chinese desirable but not required.
Same as: CHINGEN 160

CHINGEN 269. What is Chinese Theater? The Formation of a Tradition. 3-4 Units.

A survey of Chinese drama from its origins to late imperial China. Explores theories of the origins of Chinese drama, contrasting theories with the documented beginnings of theater and its first texts. How traditions turned into "elite theater" in the Ming and Qing dynasties, and how esthetic norms and moral values went into the process of theatrical transformation.
Same as: CHINGEN 169

CHINGEN 294. The History and Culture of Peking Opera. 3-4 Units.

Explores the history and culture of Peking opera from its regional origins to a major national form. It will focus on genre formation, the professional and social position of actors and the political role of Peking opera. In addition to academic texts, we will read memoirs, biographies and watch videos and movies.
Same as: CHINGEN 194

CHINGEN 296. The Culture of Entertainment in China. 3-4 Units.

Sophisticated, organized entertainment in China is evident at least as early as nthe second century B.C. in the court spectacles described in the early histories nand in the depictions of jugglers, dancers and acrobats represented in tomb nbas-reliefs. The importance attached to entertainment from ancient times both at court and in society at large is manifest not just in the establishment of nimperial institutions such as the Music Bureau, but also in the appearance of nlarge entertainment districts within the cities where people would invest nextraordinary amount of resources in the pursuit of pleasure, and in small scale ngatherings. This class will look at the representation of play and pleasure in nChinese culture from a variety of sources (art, history, literature and nperformance) in different periods of Chinese history. In the process we will naddress the place of pleasure in Chinese culture, as well as ethical, socio-npolitical and economical concerns. Held in old Knight Bldg., 521 Memorial Way, Rm. 102.
Same as: CHINGEN 196

CHINGEN 390. Practicum Internship. 1 Unit.

On-the-job training under the guidance of experienced, on-site supervisors. Meets the requirements for curricular practical training for students on F-1 visas. Students submit a concise report detailing work activities, problems worked on, and key results. May be repeated for credit.

CHINGEN 393E. Female Divinities in China. 3-5 Units.

The role of powerful goddesses, such as the Queen Mother of the West, Guanyin, and Chen Jinggu, in Chinese religion. Imperial history to the present day. What roles goddesses played in the spirit world, how this related to the roles of human women, and why a civilization that excluded women from the public sphere granted them such a major, even dominant place, in the religious sphere. Readings in English-language secondary literature.
Same as: CHINGEN 193E

CHINGEN 402T. Entrepreneurship in Asian High-Tech Industries. 1 Unit.

Distinctive patterns and challenges of entrepreneurship in Asia; update of business and technology issues in the creation and growth of start-up companies in major Asian economies. Distinguished speakers from industry, government, and academia. Course may be repeated for credit.
Same as: EE 402T, JAPANGEN 402T, KORGEN 402T

CHINLIT 93. Late Imperial China. 3 Units.

(Same as HISTORY 193. History majors and others taking 5 units, register for 193.) A survey of Chinese history from the 11th century to the collapse of the imperial state in 1911. Topics include absolutism, gentry society, popular culture, gender and sexuality, steppe nomads, the Jesuits in China, peasant rebellion, ethnic conflict, opium, and the impact of Western imperialism.
Same as: FEMGEN 93, HISTORY 93

CHINLIT 125. Beginning Classical Chinese, First Quarter. 2-5 Units.

Goal is reading knowledge of classical Chinese. Basic grammar and commonly used vocabulary. Students with no background in classical Chinese who are taking 127 to satisfy Chinese major requirements must begin with 125. Prerequisite: CHINLANG 23 or equivalent.
Same as: CHINLIT 205

CHINLIT 126. Beginning Classical Chinese, Second Quarter. 2-5 Units.

Goal is reading knowledge of classical Chinese. Basic grammar and commonly used vocabulary. Students with no background in classical Chinese who are taking 127/207 to satisfy Chinese major requirements must begin with 125/205. Prerequisite: CHINLANG 125/205 or equivalent.
Same as: CHINLIT 206

CHINLIT 127. Beginning Classical Chinese, Third Quarter. 2-5 Units.

Goal is reading knowledge of classical Chinese. Basic grammar and commonly used vocabulary. Students with no background in classical Chinese who are taking 127/207 to satisfy Chinese major requirements must begin with 125/205. Prerequisite: CHINLANG 126/206 or equivalent.
Same as: CHINLIT 207

CHINLIT 130. Lyrical and Local Prose. 3-5 Units.

Informal and personal prose of Tang and Song dynasties, with special attention to lyrical expression (prose as close alternative to poetry) and local interest (e.g., in travel diaries). These new uses and styles of prose will be compared with more formal expository prose and with poetry written by the same authors, to better understand the distribution of expressive aims and effects. Prerequisite: Classical Chinese or advanced reading knowledge of Chinese.
Same as: CHINLIT 230

CHINLIT 132. Chinese Biographies of Women. 2-5 Units.

Generic and historical analysis of the two-millennia long biographical tradition inaugurated by Liu Xiang, ca. 79-8 B.C.E. Chinese women's history, intellectual history, historiography, and literary studies.
Same as: CHINLIT 232

CHINLIT 135. Ghost Stories and Other Strange Tales. 3-4 Units.

Study of the zhiguai tradition, with readings in landmark collections from different dynastic periods (e.g., Tang, Song, Qing). Consideration of the cultural significance as well as the literary qualities of this tradition of storytelling in China. Readings in English.
Same as: CHINLIT 235

CHINLIT 155. Classical Poetry: Reading, Theory, Interpretation. 4 Units.

Introduction to the reading and interpretation of classical Chinese poetry, with attention to the language of poetry, aesthetics, expressive purposes, and social roles. Readings in Chinese. Prerequisite: three years of modern Chinese or equivalent.
Same as: CHINLIT 255

CHINLIT 165. Major Figures in Classical Chinese Poetry. 4 Units.

Focus is on a major poet and relationships to previous and later poetry. Poetic form, including meter and rhyme schemes. Historical context. This year's poet is Du Fu. Prerequisite: 3 years Modern Chinese or equivalent.
Same as: CHINLIT 265

CHINLIT 166. Chinese Ci Poetry (Song Lyrics). 3-4 Units.

Introduction to poetry in the ci "song lyrics" form. This year the focus is on song lyrics of Li Qingzhao (1084-1150s), read against song lyrics composed by male writers of her day. Attention to the special challenges she faced as a woman writer, and the ways that the tradition struggled to accommodate this "talented woman." Prerequisite: Classical Chinese or advanced reading knowledge of Chinese.
Same as: CHINLIT 266

CHINLIT 189A. Honors Research. 2-5 Units.

.

CHINLIT 189B. Honors Research. 5 Units.

Open to senior honors students to write thesis.

CHINLIT 190. Chinese Cultural Revolution: Performance, Politics, and Aesthetics. 4 Units.

Events, arts, films, and operas of the Chinese Cultural Revolution. Analysis of political passion, aesthetics, and psychology of mass movements. Places the Cultural Revolution in the long-range context of art, social movements, and politics. Chinese language is not required.
Same as: CHINLIT 290, COMPLIT 135

CHINLIT 191. The Structure of Modern Chinese. 2-4 Units.

Focus is on on syntax and semantics. Prerequisite: CHINLANG 3 or equivalent, or consent of instructor.
Same as: CHINLIT 291

CHINLIT 192. The History of Chinese. 4 Units.

Focuses on syntactic and semantic changes in Chinese over the last three millennia by using electronic corpus of vernacular texts from different times.
Same as: CHINLIT 292

CHINLIT 199. Individual Reading in Chinese. 1-4 Unit.

Asian Language majors only. Prerequisite: CHINLANG 103 or consent of instructor. Units by arrangement.

CHINLIT 200. Directed Reading in Chinese. 1-12 Unit.

.

CHINLIT 201. Proseminar: Bibliographic and Research Methods in Chinese Studies. 3-5 Units.

Bibliographic, pedagogical, and research methods in Chinese studies. Prerequisite: 127/207 or equivalent.

CHINLIT 205. Beginning Classical Chinese, First Quarter. 2-5 Units.

Goal is reading knowledge of classical Chinese. Basic grammar and commonly used vocabulary. Students with no background in classical Chinese who are taking 127 to satisfy Chinese major requirements must begin with 125. Prerequisite: CHINLANG 23 or equivalent.
Same as: CHINLIT 125

CHINLIT 206. Beginning Classical Chinese, Second Quarter. 2-5 Units.

Goal is reading knowledge of classical Chinese. Basic grammar and commonly used vocabulary. Students with no background in classical Chinese who are taking 127/207 to satisfy Chinese major requirements must begin with 125/205. Prerequisite: CHINLANG 125/205 or equivalent.
Same as: CHINLIT 126

CHINLIT 207. Beginning Classical Chinese, Third Quarter. 2-5 Units.

Goal is reading knowledge of classical Chinese. Basic grammar and commonly used vocabulary. Students with no background in classical Chinese who are taking 127/207 to satisfy Chinese major requirements must begin with 125/205. Prerequisite: CHINLANG 126/206 or equivalent.
Same as: CHINLIT 127

CHINLIT 221. Advanced Classical Chinese: Philosophical Texts. 3-5 Units.

Prerequisite: 207 or equivalent.

CHINLIT 222. Advanced Classical Chinese: Historical Narration. 2-5 Units.

Prerequisite: 127/207 or equivalent.

CHINLIT 223. Advanced Classical Chinese: Literary Essays. 2-5 Units.

Readings and grammatical analyses of literary essays thoughout imperial China. Prerequisite: CHINLIT 127/207 or equivalent.

CHINLIT 230. Lyrical and Local Prose. 3-5 Units.

Informal and personal prose of Tang and Song dynasties, with special attention to lyrical expression (prose as close alternative to poetry) and local interest (e.g., in travel diaries). These new uses and styles of prose will be compared with more formal expository prose and with poetry written by the same authors, to better understand the distribution of expressive aims and effects. Prerequisite: Classical Chinese or advanced reading knowledge of Chinese.
Same as: CHINLIT 130

CHINLIT 232. Chinese Biographies of Women. 2-5 Units.

Generic and historical analysis of the two-millennia long biographical tradition inaugurated by Liu Xiang, ca. 79-8 B.C.E. Chinese women's history, intellectual history, historiography, and literary studies.
Same as: CHINLIT 132

CHINLIT 235. Ghost Stories and Other Strange Tales. 3-4 Units.

Study of the zhiguai tradition, with readings in landmark collections from different dynastic periods (e.g., Tang, Song, Qing). Consideration of the cultural significance as well as the literary qualities of this tradition of storytelling in China. Readings in English.
Same as: CHINLIT 135

CHINLIT 245. Li Qingzhao. 2-4 Units.

This course examines the writings and reception history of Li Qingzhao (1084-1150s), the most renowned woman writer of imperial China. We will read her song lyrics (ci), the most celebrated form of her writings, as well as several of her poems in the shi form and her various prose writings as well. The singularity of her work as a poet and critic will be brought out through comparison with other writers of her day.nnAttention will also be given to the complicated reception history of her work, from her own day down through late imperial times and into the twentieth century. This history is inseparable from controversies surrounding her conduct and changing notions of womanly virtue in the Ming-Qing period. The legacy of those notions even in modern representations of Li Qingzhao will also be analyzed.nnClass meets in Knight Bldg, Rm 102.
Same as: CHINLIT 345

CHINLIT 255. Classical Poetry: Reading, Theory, Interpretation. 4 Units.

Introduction to the reading and interpretation of classical Chinese poetry, with attention to the language of poetry, aesthetics, expressive purposes, and social roles. Readings in Chinese. Prerequisite: three years of modern Chinese or equivalent.
Same as: CHINLIT 155

CHINLIT 261. Sources of Chinese Poetry. 4 Units.

The Book of Songs(ca. 1000-500 B.C.E.) and Songs of Chu (ca. 400 B.C.E.), the earliest anthologies of Chinese poetry.

CHINLIT 263. Lyric (Shih) I. 2-4 Units.

Han through Sui dynasties.

CHINLIT 265. Major Figures in Classical Chinese Poetry. 4 Units.

Focus is on a major poet and relationships to previous and later poetry. Poetic form, including meter and rhyme schemes. Historical context. This year's poet is Du Fu. Prerequisite: 3 years Modern Chinese or equivalent.
Same as: CHINLIT 165

CHINLIT 266. Chinese Ci Poetry (Song Lyrics). 3-4 Units.

Introduction to poetry in the ci "song lyrics" form. This year the focus is on song lyrics of Li Qingzhao (1084-1150s), read against song lyrics composed by male writers of her day. Attention to the special challenges she faced as a woman writer, and the ways that the tradition struggled to accommodate this "talented woman." Prerequisite: Classical Chinese or advanced reading knowledge of Chinese.
Same as: CHINLIT 166

CHINLIT 272. Traditional Chinese Fiction: Novels. 2-4 Units.

Major novels of late imperial China. Prerequisite: 127/207 or consent of instructor.

CHINLIT 273. Readings in Chinese Drama. 2-4 Units.

Yuan, Ming, and Qing periods emphasizing literary not theatrical qualities. Prerequisite: 127/207 or consent of instructor.

CHINLIT 274. Modern Chinese Novel: Theory, Aesthetics, History. 4 Units.

By reading theories of fiction along with 5 representative Chinese novels, the course explores the individual¿s relationships to the moral fabric of family, community, and society. In the transition from the traditional culture to the modern world, the traditional moral order was dismantled. Yet strands of old morality persist and are revitalized into new moral imperatives. The modern Chinese novel will be a prism to comprehend the critique and novelization of the moral norms in the formation of modern subjectivity. The theoretical half of the course includes Taylor¿s Sources of the Self, Slaughter¿s Human Rights, Inc., Marston Anderson¿s Limits of Realism, and works by Chinese theorists. We will read fictions by Wu Woyao, Mao Dun, Ding Ling, Zhang Rong, and Yu Hua. This course will be part of the workshop ¿Moral Reform, Public Virtue, and Literature,¿ sponsored by Stanford¿s McCoy Family Center for Ethics in Society. Speakers will be invited to present their work. All books are provided for free.
Same as: COMPLIT 254

CHINLIT 279. For Love of Country: National Narratives in Chinese Literature and Film. 3-5 Units.

Explores the nation as it is constructed, deconstructed, and continuously contested in novels, short stories, films, and other media from the second half of the 20th century in mainland China and Taiwan. Asks how the trope of the nation and the ideology of nationalism mediate the relationships between politics and aesthetics. Explores the nation's internal fault lines of gender, ethnicity, geography, language, and citizenship.
Same as: CHINLIT 379

CHINLIT 283. China's Dynastic Founders. 3-5 Units.

This course examines the lives of China¿s dynastic founders, among whom we find the most influential, the most celebrated, the most complicated, and the most controversial rulers in premodern Chinese history. We seek to understand the ideas of leadership and legitimacy, the relationships among statecraft, military might, and moral virtue, and the importance of precedents and exemplars in traditional Chinese political culture. Primary readings are the biographies of the dynastic founders in the official histories, supplemented by the representations of these rulers in other genres of writings. Prerequisite: Two years of classical Chinese, or consent of instructor.

CHINLIT 289. The Poetics and Politics of Affect in Modern China. 3-5 Units.

The role of affect in modern Chinese aesthetics and politics. Cultural and social theories of affect (love, hate, fear, grief, ressentiment, rage, sympathy, sincerity, shame, and nostalgia); affective discourses across agenres and media including fiction, poetry, film, journalism, and television; and mass social movements such as protest, uprising, and revolution. Advanced undergraduates requires consent of instructor. Recommended: reading knowledge of Chinese.

CHINLIT 290. Chinese Cultural Revolution: Performance, Politics, and Aesthetics. 4 Units.

Events, arts, films, and operas of the Chinese Cultural Revolution. Analysis of political passion, aesthetics, and psychology of mass movements. Places the Cultural Revolution in the long-range context of art, social movements, and politics. Chinese language is not required.
Same as: CHINLIT 190, COMPLIT 135

CHINLIT 291. The Structure of Modern Chinese. 2-4 Units.

Focus is on on syntax and semantics. Prerequisite: CHINLANG 3 or equivalent, or consent of instructor.
Same as: CHINLIT 191

CHINLIT 292. The History of Chinese. 4 Units.

Focuses on syntactic and semantic changes in Chinese over the last three millennia by using electronic corpus of vernacular texts from different times.
Same as: CHINLIT 192

CHINLIT 295J. Chinese Women's History. 5 Units.

The lives of women in the last 1,000 years of Chinese history. Focus is on theoretical questions fundamental to women's studies. How has the category of woman been shaped by culture and history? How has gender performance interacted with bodily disciplines and constraints such as medical, reproductive, and cosmetic technologies? How relevant is the experience of Western women to women elsewhere? By what standards should liberation be defined?.
Same as: FEMGEN 295J, HISTORY 295J

CHINLIT 299. Master's Thesis or Translation. 1-5 Unit.

A total of 5 units taken in one or more quarters.

CHINLIT 345. Li Qingzhao. 2-4 Units.

This course examines the writings and reception history of Li Qingzhao (1084-1150s), the most renowned woman writer of imperial China. We will read her song lyrics (ci), the most celebrated form of her writings, as well as several of her poems in the shi form and her various prose writings as well. The singularity of her work as a poet and critic will be brought out through comparison with other writers of her day.nnAttention will also be given to the complicated reception history of her work, from her own day down through late imperial times and into the twentieth century. This history is inseparable from controversies surrounding her conduct and changing notions of womanly virtue in the Ming-Qing period. The legacy of those notions even in modern representations of Li Qingzhao will also be analyzed.nnClass meets in Knight Bldg, Rm 102.
Same as: CHINLIT 245

CHINLIT 369. Late Imperial Chinese Fiction. 2-5 Units.

Primary works examined include Jin Ping Mei, Xingshi yinyuan zhuan, Hongloumeng, Qilu deng, Rulin waishi, and Ernu yingxiong zhuan. Secondary readings focus on social dimensions of the Chinese novel (ca. 1600-1850), but students may explore other aspects of the texts in their presentations and research papers. Comparisons with the English novel, particularly on the rise of the novel and the advent of modernity.

CHINLIT 371. Aesthetics, Politics, Modernity and China. 2-5 Units.

The making of global heroes--and the many bodies of Chairman Mao. This course explores a number of key motifs of critical theory relevant to Chinese studies. It introduces some seminal theories of visuality and the making of (global) heroes and problematizes the writing of visual histories and the uses of Digital Humanities for this purpose. Part of an ongoing research project which focuses on two hyper-visible male protaganists of the twentieth century-Mohandas Gandhi and Mao Zedong. How have these flesh and blood men been transformed through the work of visual imagery into globally recognizable, transcultural "bio-icons"? Prerequisite: CHINLIT 127/207 or consent of instructor.
Same as: COMPLIT 371

CHINLIT 379. For Love of Country: National Narratives in Chinese Literature and Film. 3-5 Units.

Explores the nation as it is constructed, deconstructed, and continuously contested in novels, short stories, films, and other media from the second half of the 20th century in mainland China and Taiwan. Asks how the trope of the nation and the ideology of nationalism mediate the relationships between politics and aesthetics. Explores the nation's internal fault lines of gender, ethnicity, geography, language, and citizenship.
Same as: CHINLIT 279

CHINLIT 391. Seminar in Chinese Syntax. 4 Units.

May be repeated for credit.

CHINLIT 392B. Law and Society in Late Imperial China. 4-5 Units.

(Same as LAW 773.) Connections between legal and social history. Ideology and practice, center and periphery, and state-society tensions and interactions. Readings introduce the work of major historians on concepts and problems in Ming-Qing history.
Same as: HISTORY 392B

CHINLIT 399. Dissertation Research. 1-12 Unit.

.

JAPANGEN 51. Japanese Business Culture and Systems. 3-5 Units.

Japanese sociocultural dynamics in industrial and corporate structures, negotiating styles, decision making, and crisis management. Practicum on Japan market strategies.
Same as: JAPANGEN 251

JAPANGEN 57. How to Find Modern Japan: A Gateway Course. 4 Units.

An introduction to key locales in the cultural production of modern Japanese identity, offering a virtual tour of Japan and its significant others through major works of Japanese literature and film. Particular attention to sociohistorical context.
Same as: JAPANGEN 157

JAPANGEN 60. Asian Arts and Cultures. 5 Units.

An introduction to major monuments, themes, styles, and media of East and South Asian visual arts, in their social, literary, religious, and political contexts. Through close study of primary monuments of architectural, pictorial, and sculptural arts and related texts, this course will explore ritual and mortuary arts; Buddhist arts across Asia; narrative and landscape images; and courtly, urban, monastic, and studio environments for art from Bronze Age to modern eras.
Same as: ARTHIST 2

JAPANGEN 75N. Around the World in Seventeen Syllables: Haiku in Japan, the U.S., and the Digital World. 3-4 Units.

Preference to freshmen. Origins of the haiku form in Japan, its place in the discourse of Orientalism during the 19th and early 20th centuries in the West, its appropriation by U.S.devotees of Zen and the beat poets after WW II, and its current transformation into a global form through the Internet.

JAPANGEN 79. Japanese Ghosts: The Supernatural in Japanese Art and Entertainment. 4 Units.

The complex meanings of ghosts in Japanese culture. Representations of the supernatural in images, drama, oral narratives, prose, film, comics and animation at different moments in Japanese history.
Same as: JAPANGEN 179

JAPANGEN 82N. Joys and Pains of Growing Up and Older in Japan. 3 Units.

What do old and young people share in common? With a focus on Japan, a country with a large long-living population, this seminar spotlights older people's lives as a reflectiion of culture and society, history, and current social and personal changes. Through discussion of multidisciplinary studies on age, analysis of narratives, and films, we will gain a closer understanding of Japanese society and the multiple meanings of growing up and older. Students will also create a short video/audio profile of an older individual, and we will explore cross-cultural comparisons. Held in Knight Bldg. Rm. 201.

JAPANGEN 92. Introduction to Japan. 5 Units.

Required Japanese majors. Introduction to Japanese culture in historical context. Previous topics include:shifting paradigms of gender relations and performance, ancient mythology, court poetry and romance, medieval war tales, and the theaters of Noh, Bunraku, and Kabuki.

JAPANGEN 121. Translating Japan, Translating the West. 3-4 Units.

Translation lies at the heart of all intercultural exchange. This course introduces students to the specific ways in which translation has shaped the image of Japan in the West, the image of the West in Japan, and Japan's self-image in the modern period. What texts and concepts were translated by each side, how, and to what effect? No prior knowledge of Japanese language necessary.
Same as: COMPLIT 142B, JAPANGEN 221

JAPANGEN 122. Translating Cool: Globalized Popular Culture in Asia. 3-4 Units.

Did you grow up watching Pokémon and Power Rangers? Have you danced along to "Gangnam Style"? As we become increasingly exposed to Asian popular culture and the Internet facilitates instant access to new media, previous localized forms of entertainment--animated cartoons, comics, video games, music videos, film, and soap operas--have become part of a global staple. However, these cultural forms have emerged not only in their original form with mediation of subtitles. Many have undergone various processes of adaptation and translation so that we no longer recognize that these products had ever originated elsewhere. This course will immerse students in a range of Japanese and Korean cultural phenomena to reveal the spectrum of translation practices across national boundaries. We will inquire into why these cultural forms have such compelling and powerful staying power, contextualize them within their frames of production, and explore the strategies, limitations, and potential of translational practices.nnContact instructor for place. dafnazur@stanford.edunKnight 201.
Same as: JAPANGEN 222, KORGEN 122

JAPANGEN 124. Manga as Literature. 3-5 Units.

Analysis of representative manga as narratives that combine verbal and visual elements, with attention to historical and cultural background. Representative manga by Tezuka Osamu, Tatsumi Yoshihiro, Koike Kazuo, Taniguchi Jiro, Natsume Ono, Kono Fumiyo, and others. All readings in English.nnClass meets in Knight Bldg, Rm 018. Contact instructor (sdcarter@stanford.edu) for place.
Same as: JAPANGEN 224

JAPANGEN 126. The Vampire in Anime. 3-4 Units.

Analysis of anime where vampires play central roles as characters and/or in plot development. Comparison of character and plot development within anime series and Western vampire literature will be the main focus; attention will also be paid to the development of the vampire as a literary and film character in the West, the conception of the supernatural in Japanese culture, and the points of similarity and difference between the two.

JAPANGEN 127. JAPANimals: Fauna in the Cultural History of Japan. 3-5 Units.

Multifarious roles played by animals throughout Japanese art and culture.Signs of the zodiac; shape-changers and tricksters; fabulous beasts and sacred animals; the notorious "Dog Shogun" and animal satires; commodification of animals, representation of animals in anime.
Same as: JAPANGEN 227

JAPANGEN 133. Japanese Media Culture. 2-4 Units.

Focuses on the intertwined histories of the postwar Japanese television, anime, music, and video game industries, and how their development intersects with wider trends in Japanese society. We will pay particular attention to questions of affect, labor, and environment in media production, consumption, and style.
Same as: JAPANGEN 233

JAPANGEN 137. Classical Japanese Literature in Translation. 4 Units.

Prose, poetry, and drama from the 10th-19th centuries. Historical, intellectual, and cultural context. Works vary each year. May be repeated for credit with consent of instructor.
Same as: JAPANGEN 237

JAPANGEN 138. Introduction to Modern Japanese Literature and Culture. 3-4 Units.

This class introduces key literary texts from Japan's modern era (1868-present), locating these works in the larger political, social, and cultural trends of the period. Primary texts include: Futabatei Shimei's Floating Clouds, Higuchi Ichiyô's Child's Play, Natsume Sôseki's Kokoro, Kobayashi Takiji's Cannery Boat, Ôe Kenzaburô's The Catch, and Yoshimoto Banana's Kitchen. Examination of these literary works will be contextualized within larger political trends (e.g., the modernization program of the Meiji regime, the policies of Japan's wartime government, and postwar Japanese responses to the cold war), social developments (e.g., changing notions of social class, the women's rights movement, and the social effects of the postwar economic expansion), and cultural movements (e.g., literary reform movement of the 1890s, modernism of the 1920s and 30s, and postmodernism of the 1980s). The goal of the class is to use literary texts as a point of entry to understand the grand narrative of Japan's journey from its tentative re-entry into the international community in the 1850s, through the cataclysm of the Pacific War, to the remarkable prosperity of the bubble years in the 1980s.
Same as: COMPLIT 138A, JAPANGEN 238

JAPANGEN 141. Japanese Performance Traditions. 3-4 Units.

Major paradigms of gender in Japanese performance traditions from ancient to modern times, covering Noh, Kabuki, Bunraku, and Takarazuka.
Same as: JAPANGEN 241

JAPANGEN 142. Gender, Sex, and Text in Early Modern Japan. 3-4 Units.

The early modern period in Japan (1600-1868) was a vibrant time when popular culture flourished, cities expanded, and people enjoyed a 'floating world' of transient, sensual delights. Reading popular literature from the time (in translation), including novels and poetry, and looking at explicit erotic imagery in woodblock prints as well as other visual media, we will discuss topics related to gender, sex, and sexuality. Critical scholarship by historians, art historians and scholars of literature will add to students' own readings of these primary sources.
Same as: JAPANGEN 242

JAPANGEN 144. Inventing Japan: Traditional Culture in the Modern World. 3-5 Units.

Features of traditional Japanese culture such as temples and shrines, kimono, and cultural practices like the tea ceremony, have played an important role in both domestic and international representations of Japan since the late nineteenth century. In this course students will be introduced to these elements of traditional Japanese culture, while learning to cast a critical eye on the concept of tradition. Themes will include discussion of the gendered nature of tradition in modern Japan and the role played by such traditions in constructing national identity, both in Japan and overseas. We will explore these topics using the theoretical frameworks of invention of tradition and reformatting of tradition. Contact instructor for room. rcorbett@stanford.edu.
Same as: JAPANGEN 244

JAPANGEN 148. Modern Japanese Narratives: Literature and Film. 3-5 Units.

Central issues in modern Japanese visual and written narrative. Focus is on competing views of modernity, war, and crises of individual and collective identity and responsibility. Directors and authors include Kurosawa, Mizoguchi, Ozu, Ogai, Akutagawa, Tanizaki, Abe, and Oe.
Same as: JAPANGEN 248

JAPANGEN 149. Screening Japan: Issues in Crosscultural Interpretation. 3-4 Units.

Is the cinematic language of moving images universal? How have cultural differences, political interests, and genre expectations affected the ways in which Japanese cinema makes meaning across national borders? Sources include the works of major Japanese directors and seminal works of Japanese film criticism, theory, and scholarship in English. No Japanese language skills required.
Same as: JAPANGEN 249

JAPANGEN 152. Art Animation. 2-4 Units.

While anime has spread around the world, Japanese art animators have been busy developing a parallel tradition, built from a more personal, experimental, and idiosyncratic approach to the medium. Looking closely at key works from major artists in the field, this course explores art animation from a variety of perspectives: animation scene; philosophical attempts to account for animated movement; and art animation's unique perspective on Japanese culture.
Same as: FILMSTUD 146, JAPANGEN 252

JAPANGEN 157. How to Find Modern Japan: A Gateway Course. 4 Units.

An introduction to key locales in the cultural production of modern Japanese identity, offering a virtual tour of Japan and its significant others through major works of Japanese literature and film. Particular attention to sociohistorical context.
Same as: JAPANGEN 57

JAPANGEN 160. Early Modern Japan: The Floating World of Chikamatsu. 4 Units.

Early modern Japan as dramatized in the puppet theater of Chikamatsu Monzaemon (1653-1725), Japan's leading dramatist, who depicted militarization, commercialization, and urbanization in the Tokugawa period (1603-1868). Emperors, shogun, daimyo, samurai, merchants, monks, geisha, and masterless ronin in his bunraku plays as denizens of a floating world. Themes of loyalty, love, heroism, suicide, and renunciation in the early modern world. In English.
Same as: JAPANGEN 260

JAPANGEN 179. Japanese Ghosts: The Supernatural in Japanese Art and Entertainment. 4 Units.

The complex meanings of ghosts in Japanese culture. Representations of the supernatural in images, drama, oral narratives, prose, film, comics and animation at different moments in Japanese history.
Same as: JAPANGEN 79

JAPANGEN 184. Aristocrats, Warriors, Sex Workers, and Barbarians: Lived Life in Early Modern Japanese Painting. 4 Units.

Changes marking the transition from medieval to early modern Japanese society that generated a revolution in visual culture, as exemplified in subjects deemed fit for representation; how commoners joined elites in pictorializing their world, catalyzed by interactions with the Dutch.
Same as: ARTHIST 184, ARTHIST 384, JAPANGEN 384

JAPANGEN 185. Arts of War and Peace: Late Medieval and Early Modern Japan, 1500-1868. 4 Units.

Narratives of conflict, pacification, orthodoxy, nostalgia, and novelty through visual culture during the change of episteme from late medieval to early modern, 16th through early 19th centuries. The rhetorical messages of castles, teahouses, gardens, ceramics, paintings, and prints; the influence of Dutch and Chinese visuality; transformation in the roles of art and artist; tensions between the old and the new leading to the modernization of Japan.
Same as: ARTHIST 187, ARTHIST 387

JAPANGEN 186. Theme and Style in Japanese Art. 4 Units.

A mixture of lecture and discussion, this course presents a chronological introduction to some of the defining monuments in the history of Japanese visual culture from prehistory to the mid-19th century. This introductory class presumes no prior knowledge of art history or of Japan. We will emphasize certain overarching themes like religious life; notions of decorum appropriate to various classes (court, warrior, and commoner); the relationship between and among the arts, such as the visual and the verbal, or the symphonic assemblage arts as seen in the tea ceremony; pervasive cultural tropes like nostalgia, seasonality, or the sense of place; and broader issues such as censorship, patronage, gender issues, and the encounters between Japanese and foreign cultures.
Same as: ARTHIST 186, ARTHIST 386, JAPANGEN 286

JAPANGEN 187. Romance, Desire, and Sexuality in Modern Japanese Literature. 3-4 Units.

This class is structured around three motifs: love suicide (as a romantic ideal), female desire, and same-sex sexuality. Over the course of the quarter we will look at how these motifs are treated in the art and entertainment from three different moments of Japanese history: the Edo period (1615-1868), the modern period (1920-65), and the contemporary period (1965-present). We will start by focusing on the most traditional representations of these topics. Subsequently, we will consider how later artists and entertainers revisited the conventional treatments of these motifs, informing them with new meanings and social significance. We will devote particular attention to how this material comments upon issues of gender, sexuality, and human relationships in the context of Japan. Informing our perspective will be feminist and queer theories of reading and interpretation.
Same as: FEMGEN 187, JAPANGEN 287

JAPANGEN 198. Senior Colloquium in Japanese Studies. 1 Unit.

Research, write, and present capstone essay or honors thesis.
Same as: KORGEN 198

JAPANGEN 200. Directed Reading in Asian Languages. 1-12 Unit.

For Japanese literature. Prerequisite: consent of instructor. (Staff).

JAPANGEN 201. Teaching Japanese Humanities. 1 Unit.

Prepares graduate students to teach humanities at the undergraduate level. Topics include syllabus development and course design, techniques for generating discussion, effective grading practices, and issues particular to the subject matter.

JAPANGEN 220. The Situation of the Artist in Traditional Japan. 5 Units.

Topics may include: workshop production such as that of the Kano and Tosa families; the meaning of the signature on objects including ceramics and tea wares; the folk arts movement; craft guilds; ghost painters in China; individualism versus product standardization; and the role of lineage. How works of art were commissioned; institutions supporting artists; how makers purveyed their goods; how artists were recognized by society; the relationship between patrons¿ desires and artists¿ modes of production.
Same as: ARTHIST 485

JAPANGEN 221. Translating Japan, Translating the West. 3-4 Units.

Translation lies at the heart of all intercultural exchange. This course introduces students to the specific ways in which translation has shaped the image of Japan in the West, the image of the West in Japan, and Japan's self-image in the modern period. What texts and concepts were translated by each side, how, and to what effect? No prior knowledge of Japanese language necessary.
Same as: COMPLIT 142B, JAPANGEN 121

JAPANGEN 222. Translating Cool: Globalized Popular Culture in Asia. 3-4 Units.

Did you grow up watching Pokémon and Power Rangers? Have you danced along to "Gangnam Style"? As we become increasingly exposed to Asian popular culture and the Internet facilitates instant access to new media, previous localized forms of entertainment--animated cartoons, comics, video games, music videos, film, and soap operas--have become part of a global staple. However, these cultural forms have emerged not only in their original form with mediation of subtitles. Many have undergone various processes of adaptation and translation so that we no longer recognize that these products had ever originated elsewhere. This course will immerse students in a range of Japanese and Korean cultural phenomena to reveal the spectrum of translation practices across national boundaries. We will inquire into why these cultural forms have such compelling and powerful staying power, contextualize them within their frames of production, and explore the strategies, limitations, and potential of translational practices.nnContact instructor for place. dafnazur@stanford.edunKnight 201.
Same as: JAPANGEN 122, KORGEN 122

JAPANGEN 224. Manga as Literature. 3-5 Units.

Analysis of representative manga as narratives that combine verbal and visual elements, with attention to historical and cultural background. Representative manga by Tezuka Osamu, Tatsumi Yoshihiro, Koike Kazuo, Taniguchi Jiro, Natsume Ono, Kono Fumiyo, and others. All readings in English.nnClass meets in Knight Bldg, Rm 018. Contact instructor (sdcarter@stanford.edu) for place.
Same as: JAPANGEN 124

JAPANGEN 227. JAPANimals: Fauna in the Cultural History of Japan. 3-5 Units.

Multifarious roles played by animals throughout Japanese art and culture.Signs of the zodiac; shape-changers and tricksters; fabulous beasts and sacred animals; the notorious "Dog Shogun" and animal satires; commodification of animals, representation of animals in anime.
Same as: JAPANGEN 127

JAPANGEN 229. Topophilia: Place in Japanese Visual Culture through 19th Century. 5 Units.

Attachments to "place" and "home" are hard-wired into the biology of humans and animals alike, although such attachments vary according to specific times, cultures, and states of mind. Can we speak of a "Japanese sense of place" and if so, what is distinctive about it? Seminar explores religious visions and ritual fields; narratives of itinerancy; cityscapes; topographic taxonomies. Knowledge of Japanese culture is beneficial but not mandatory.
Same as: ARTHIST 229D

JAPANGEN 233. Japanese Media Culture. 2-4 Units.

Focuses on the intertwined histories of the postwar Japanese television, anime, music, and video game industries, and how their development intersects with wider trends in Japanese society. We will pay particular attention to questions of affect, labor, and environment in media production, consumption, and style.
Same as: JAPANGEN 133

JAPANGEN 237. Classical Japanese Literature in Translation. 4 Units.

Prose, poetry, and drama from the 10th-19th centuries. Historical, intellectual, and cultural context. Works vary each year. May be repeated for credit with consent of instructor.
Same as: JAPANGEN 137

JAPANGEN 238. Introduction to Modern Japanese Literature and Culture. 3-4 Units.

This class introduces key literary texts from Japan's modern era (1868-present), locating these works in the larger political, social, and cultural trends of the period. Primary texts include: Futabatei Shimei's Floating Clouds, Higuchi Ichiyô's Child's Play, Natsume Sôseki's Kokoro, Kobayashi Takiji's Cannery Boat, Ôe Kenzaburô's The Catch, and Yoshimoto Banana's Kitchen. Examination of these literary works will be contextualized within larger political trends (e.g., the modernization program of the Meiji regime, the policies of Japan's wartime government, and postwar Japanese responses to the cold war), social developments (e.g., changing notions of social class, the women's rights movement, and the social effects of the postwar economic expansion), and cultural movements (e.g., literary reform movement of the 1890s, modernism of the 1920s and 30s, and postmodernism of the 1980s). The goal of the class is to use literary texts as a point of entry to understand the grand narrative of Japan's journey from its tentative re-entry into the international community in the 1850s, through the cataclysm of the Pacific War, to the remarkable prosperity of the bubble years in the 1980s.
Same as: COMPLIT 138A, JAPANGEN 138

JAPANGEN 241. Japanese Performance Traditions. 3-4 Units.

Major paradigms of gender in Japanese performance traditions from ancient to modern times, covering Noh, Kabuki, Bunraku, and Takarazuka.
Same as: JAPANGEN 141

JAPANGEN 242. Gender, Sex, and Text in Early Modern Japan. 3-4 Units.

The early modern period in Japan (1600-1868) was a vibrant time when popular culture flourished, cities expanded, and people enjoyed a 'floating world' of transient, sensual delights. Reading popular literature from the time (in translation), including novels and poetry, and looking at explicit erotic imagery in woodblock prints as well as other visual media, we will discuss topics related to gender, sex, and sexuality. Critical scholarship by historians, art historians and scholars of literature will add to students' own readings of these primary sources.
Same as: JAPANGEN 142

JAPANGEN 244. Inventing Japan: Traditional Culture in the Modern World. 3-5 Units.

Features of traditional Japanese culture such as temples and shrines, kimono, and cultural practices like the tea ceremony, have played an important role in both domestic and international representations of Japan since the late nineteenth century. In this course students will be introduced to these elements of traditional Japanese culture, while learning to cast a critical eye on the concept of tradition. Themes will include discussion of the gendered nature of tradition in modern Japan and the role played by such traditions in constructing national identity, both in Japan and overseas. We will explore these topics using the theoretical frameworks of invention of tradition and reformatting of tradition. Contact instructor for room. rcorbett@stanford.edu.
Same as: JAPANGEN 144

JAPANGEN 248. Modern Japanese Narratives: Literature and Film. 3-5 Units.

Central issues in modern Japanese visual and written narrative. Focus is on competing views of modernity, war, and crises of individual and collective identity and responsibility. Directors and authors include Kurosawa, Mizoguchi, Ozu, Ogai, Akutagawa, Tanizaki, Abe, and Oe.
Same as: JAPANGEN 148

JAPANGEN 249. Screening Japan: Issues in Crosscultural Interpretation. 3-4 Units.

Is the cinematic language of moving images universal? How have cultural differences, political interests, and genre expectations affected the ways in which Japanese cinema makes meaning across national borders? Sources include the works of major Japanese directors and seminal works of Japanese film criticism, theory, and scholarship in English. No Japanese language skills required.
Same as: JAPANGEN 149

JAPANGEN 251. Japanese Business Culture and Systems. 3-5 Units.

Japanese sociocultural dynamics in industrial and corporate structures, negotiating styles, decision making, and crisis management. Practicum on Japan market strategies.
Same as: JAPANGEN 51

JAPANGEN 252. Art Animation. 2-4 Units.

While anime has spread around the world, Japanese art animators have been busy developing a parallel tradition, built from a more personal, experimental, and idiosyncratic approach to the medium. Looking closely at key works from major artists in the field, this course explores art animation from a variety of perspectives: animation scene; philosophical attempts to account for animated movement; and art animation's unique perspective on Japanese culture.
Same as: FILMSTUD 146, JAPANGEN 152

JAPANGEN 260. Early Modern Japan: The Floating World of Chikamatsu. 4 Units.

Early modern Japan as dramatized in the puppet theater of Chikamatsu Monzaemon (1653-1725), Japan's leading dramatist, who depicted militarization, commercialization, and urbanization in the Tokugawa period (1603-1868). Emperors, shogun, daimyo, samurai, merchants, monks, geisha, and masterless ronin in his bunraku plays as denizens of a floating world. Themes of loyalty, love, heroism, suicide, and renunciation in the early modern world. In English.
Same as: JAPANGEN 160

JAPANGEN 286. Theme and Style in Japanese Art. 4 Units.

A mixture of lecture and discussion, this course presents a chronological introduction to some of the defining monuments in the history of Japanese visual culture from prehistory to the mid-19th century. This introductory class presumes no prior knowledge of art history or of Japan. We will emphasize certain overarching themes like religious life; notions of decorum appropriate to various classes (court, warrior, and commoner); the relationship between and among the arts, such as the visual and the verbal, or the symphonic assemblage arts as seen in the tea ceremony; pervasive cultural tropes like nostalgia, seasonality, or the sense of place; and broader issues such as censorship, patronage, gender issues, and the encounters between Japanese and foreign cultures.
Same as: ARTHIST 186, ARTHIST 386, JAPANGEN 186

JAPANGEN 287. Romance, Desire, and Sexuality in Modern Japanese Literature. 3-4 Units.

This class is structured around three motifs: love suicide (as a romantic ideal), female desire, and same-sex sexuality. Over the course of the quarter we will look at how these motifs are treated in the art and entertainment from three different moments of Japanese history: the Edo period (1615-1868), the modern period (1920-65), and the contemporary period (1965-present). We will start by focusing on the most traditional representations of these topics. Subsequently, we will consider how later artists and entertainers revisited the conventional treatments of these motifs, informing them with new meanings and social significance. We will devote particular attention to how this material comments upon issues of gender, sexuality, and human relationships in the context of Japan. Informing our perspective will be feminist and queer theories of reading and interpretation.
Same as: FEMGEN 187, JAPANGEN 187

JAPANGEN 287A. The Japanese Tea Ceremony: The History, Aesthetics, and Politics Behind a National Pastime. 5 Units.

The Japanese tea ceremony, the ultimate premodern multimedia phenomenon, integrates architecture, garden design, ceramics, painting, calligraphy, and other treasured objects into a choreographed ritual wherein host, objects, and guests perform designated roles on a tiny stage sometimes only six feet square.. In addition to its much-touted aesthetic and philosophical aspects, the practice of tea includes inevitable political and rhetorical dimensions. This course traces the evolution of tea practice from its inception within the milieu of courtier diversions, Zen monasteries, and warrior villas, through its various permutations into the 20th century, where it was manipulated by the emerging industrialist class for different-but ultimately similar-ends.
Same as: ARTHIST 287A

JAPANGEN 384. Aristocrats, Warriors, Sex Workers, and Barbarians: Lived Life in Early Modern Japanese Painting. 4 Units.

Changes marking the transition from medieval to early modern Japanese society that generated a revolution in visual culture, as exemplified in subjects deemed fit for representation; how commoners joined elites in pictorializing their world, catalyzed by interactions with the Dutch.
Same as: ARTHIST 184, ARTHIST 384, JAPANGEN 184

JAPANGEN 402T. Entrepreneurship in Asian High-Tech Industries. 1 Unit.

Distinctive patterns and challenges of entrepreneurship in Asia; update of business and technology issues in the creation and growth of start-up companies in major Asian economies. Distinguished speakers from industry, government, and academia. Course may be repeated for credit.
Same as: CHINGEN 402T, EE 402T, KORGEN 402T

JAPANLIT 146. Introduction to Premodern Japanese. 3-5 Units.

Readings from Heian, Kamakura, Muromachi, and early Edo periods with focus on grammar and reading comprehension. Prerequisite: JAPANLNG 129B or 103, or equivalent.
Same as: JAPANLIT 246

JAPANLIT 157. Points in Japanese Grammar. 2-4 Units.

Meaning and grammatical differences of similar expressions, and distinctions that may not be salient in English. Prerequisite: JAPANLNG 18B or 22, or equivalent.
Same as: JAPANLIT 257

JAPANLIT 170. The Tale of Genji and Its Historical Reception. 4 Units.

Approaches to the tale including 12th-century allegorical and modern feminist readings. Influence upon other works including poetry, Noh plays, short stories, modern novels, and comic book ( manga) retellings. Prerequisite for graduate students: JAPANLNG 129B or 103, or equivalent.
Same as: JAPANLIT 270

JAPANLIT 181. Japanese Pragmatics. 2-4 Units.

The choice of linguistic expressions and our understanding of what is said involve multiple sociocultural, cognitive and discourse factors. Can such pragmatic factors and processes be considered universal to all languages, or are there variations among languages? The course will investigate an array of phenomena observed in Japanese. Through readings and projects, students will deepen their knowledge of Japanese and consider theoretical implications. Prerequisites: one year of Japanese and a course in linguistics, or two years of Japanese, or consent of instructor.
Same as: JAPANLIT 281

JAPANLIT 189A. Honors Research. 2-5 Units.

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JAPANLIT 189B. Honors Research. 5 Units.

Open to senior honors students to write thesis.

JAPANLIT 199. Individual Reading in Japanese. 1-4 Unit.

Asian Languages majors only. May be repeated for credit. Prerequisites: JAPANLNG 129B or 103, and consent of instructor.

JAPANLIT 200. Directed Reading in Japanese. 1-12 Unit.

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JAPANLIT 201. Proseminar: Introduction to Graduate Study in Japanese. 2-5 Units.

Bibliographical and research methods. Major trends in literary and cultural theory and critical practice. May be repeated once for credit. Prerequisite: JAPANLNG 103 or 129B, or consent of instructor.

JAPANLIT 202. Bibliographic and Research Methods in Japanese. 1-3 Unit.

The use of library and online resources for the study of Japanese literature, language, and culture. Prerequisite: JAPANLNG 103 or 129B, or consent of instructor.

JAPANLIT 224. Dramatic Manga. 2-4 Units.

In depth reading and analysis of so-called "dramatic" or "realistic" manga (gekiga), concentrating on one of the major contributors to that genre (Saito Takao, Tatsumi Yoshihiro, Taniguchi Jiro, Sugiura Hinako, Mase Motoro, and others). Readings in Japanese and English translation. Prerequisite: four years of Japanese, or consent of instructor.

JAPANLIT 235. Academic Readings in Japanese I. 2-4 Units.

Strategies for reading academic writings in Japanese. Readings of scholarly papers and advanced materials in Japanese in students' research areas in the humanities and social sciences. Prerequisites: JAPANLNG 103, 129B, or equivalent; and consent of instructor.

JAPANLIT 236. Academic Readings in Japanese II. 2-4 Units.

Strategies for reading academic writings in Japanese. Readings of scholarly papers and advanced materials in Japanese in students' research areas in the humanities and social sciences. May be taken independently of 264. May be repeated for credit. Prerequisites: JAPANLNG 103, 129B, or equivalent; and consent of instructor.

JAPANLIT 246. Introduction to Premodern Japanese. 3-5 Units.

Readings from Heian, Kamakura, Muromachi, and early Edo periods with focus on grammar and reading comprehension. Prerequisite: JAPANLNG 129B or 103, or equivalent.
Same as: JAPANLIT 146

JAPANLIT 247. Readings in Premodern Japanese. 2-5 Units.

Edo and Meiji periods with focus on grammar and reading comprehension. May be repeated for credit. Prerequisite: 246 or equivalent.

JAPANLIT 248. Readings in Classical Japanese. 5 Units.

Edo and Meiji periods including travel writings, fictions, miscellanies, and poetry. Focus is on grammar, stylistic analysis, and rhetoric. Can be taken independently. Prerequisite: 246.

JAPANLIT 257. Points in Japanese Grammar. 2-4 Units.

Meaning and grammatical differences of similar expressions, and distinctions that may not be salient in English. Prerequisite: JAPANLNG 18B or 22, or equivalent.
Same as: JAPANLIT 157

JAPANLIT 260. Japanese Poetry and Poetics. 2-4 Units.

Heian through Meiji periods with emphasis on relationships between the social and aesthetic. Works vary each year. This year's genre is the diary. Prerequisites: 246, 247, or equivalent.

JAPANLIT 266. Introduction to Sino-Japanese. 3-5 Units.

Readings in Sino-Japanese (kambun) texts of the Heian, Kamakura, and Muromachi periods, with focus on grammar and reading comprehension. Prerequisite: 246 or equivalent.

JAPANLIT 267. Readings in Sino-Japanese. 2-4 Units.

Readings in Sino-Japanese (kambun) texts of the Edo and Meiji periods, with focus on grammar and reading comprehension. Prerequisite: 264 or equivalent.

JAPANLIT 270. The Tale of Genji and Its Historical Reception. 4 Units.

Approaches to the tale including 12th-century allegorical and modern feminist readings. Influence upon other works including poetry, Noh plays, short stories, modern novels, and comic book ( manga) retellings. Prerequisite for graduate students: JAPANLNG 129B or 103, or equivalent.
Same as: JAPANLIT 170

JAPANLIT 276. Modern Japanese Short Stories. 2-4 Units.

This course explores the postwar Japanese short story. We will read representative works by major authors, such as Ishikawa Jun, Hayashi Fumiko, Abe Kobe and Murakami Haruki. Attention will be devoted to both accurate reading of the Japanese prose and more general discussion of the literary features of the texts.

JAPANLIT 279. Research in Japanese Linguistics. 2-4 Units.

Introduction to graduate research in Japanese linguistics. Fields of research, methods and bibliographical background. Conduct a pilot research project in a chosen area. May be repeated for credit. Prerequisite: JAPANLNG 119 or consent of instructor.

JAPANLIT 281. Japanese Pragmatics. 2-4 Units.

The choice of linguistic expressions and our understanding of what is said involve multiple sociocultural, cognitive and discourse factors. Can such pragmatic factors and processes be considered universal to all languages, or are there variations among languages? The course will investigate an array of phenomena observed in Japanese. Through readings and projects, students will deepen their knowledge of Japanese and consider theoretical implications. Prerequisites: one year of Japanese and a course in linguistics, or two years of Japanese, or consent of instructor.
Same as: JAPANLIT 181

JAPANLIT 287. Pictures of the Floating World: Images from Japanese Popular Culture. 5 Units.

Printed objects produced during the Edo period (1600-1868), including the Ukiyo-e (pictures of the floating world) and lesser-studied genres such as printed books (ehon) and popular broadsheets (kawaraban). How a society constructs itself through images. The borders of the acceptable and censorship; theatricality, spectacle, and slippage; the construction of play, set in conflict against the dominant neo-Confucian ideology of fixed social roles.
Same as: ARTHIST 287, ARTHIST 487X

JAPANLIT 296. Modern Japanese Literature. 2-5 Units.

Advanced readings. May be repeated for credit. Prerequisite: JAPANLNG 213. Formerly JAPANLIT 396.

JAPANLIT 298. The Theory and Practice of Japanese Literary Translation. 2-5 Units.

Theory and cultural status of translation in modern Japanese and English. Comparative analysis of practical translation strategies. Final project is a literary translation of publishable quality. Prerequisite: fourth-year Japanese or consent of instructor.

JAPANLIT 299. Master's Thesis or Translation. 1-5 Unit.

A total of 5 units, taken in one or more quarters.nn (Staff).

JAPANLIT 350. Japanese Historical Fiction. 3-5 Units.

Authors include Mori Ogai, Akutagawa Ryunosuke, Tanizaki Jun'ichiro, Enchi Fumiko, Shiba Ryotaro, Fujisawa Shuhei, and Hiraiwa Yumie. Genre theory, and historical and cultural context. Works vary each year. May be repeated for credit.

JAPANLIT 377. Seminar: Structure of Japanese. 2-4 Units.

Linguistic constructions in Japanese. Topics vary annually. In 2009-10, focus is on noun-modifying constructions in Japanese from multiple perspectives including syntax, semantics, pragmatics, and acquisition. Contrasts with similar constructions in other languages. Typological implications. Prerequisites: courses in Japanese linguistics, consent of instructor.

JAPANLIT 381. Topics in Pragmatics and Discourse Analysis. 2-4 Units.

Naturally occurring discourse (conversational, narrative, or written) and theoretical implications. Discourse of different age groups, expressions of identity and persona, and individual styles. May be repeated for credit.

JAPANLIT 382. Research Projects in Japanese Linguistics. 2-5 Units.

For advanced graduate students with specific research projects in Japanese linguistics. Consent of instructor required.

JAPANLIT 395. Early Modern Japanese Literature. 2-4 Units.

May be repeated for credit. Prerequisite: 247.

JAPANLIT 396. Modern Japanese Literature Seminar. 2-5 Units.

Works and topics vary each year. May be repeated for credit. Prerequisite: fourth-year Japanese or consent of instructor.

JAPANLIT 399. Dissertation Research. 1-12 Unit.

For doctoral students in Japanese working on dissertations.

JAPANLIT 801. TGR Project. 0 Units.

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JAPANLIT 802. TGR Dissertation. 0 Units.

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KORGEN 101. Kangnam Style: Korean Media and Pop Culture. 4 Units.

For over a decade now, South Korea has established itself as a tireless generator of soft power, the popularity of its pop-culture spreading from Asia to the rest of the world. This class will look into the economic engine that moves this "cultural contents" industry, and will examine some of its expressions in the form of K-pop, soap operas, tourism, food, sports, and fashion in order to illuminate the ways in which Korean culture is being (self-)narrated and consumed in this era of globalization of the 21st century.
Same as: KORGEN 201

KORGEN 101N. Kangnam Style: Korean Media and Pop Culture. 4 Units.

For over a decade now, South Korea has established itself as a tireless generator of soft power, the popularity of its pop-culture spreading from Asia to the rest of the world. This class will look into the economic engine that moves this "cultural contents" industry, and will examine some of its expressions in the form of K-pop. Will be held in Rm. 212, Lathrop Library.

KORGEN 120. Narratives of Modern and Contemporary Korea. 4-5 Units.

This introductory survey will examine the development of South and North Korean literature from the turn of the 20th century until the present. The course will be guided by historical and thematic inquiries as we explore literature in the colonial period, in the period of postwar industrialization, and contemporary literature from the last decade. We will supplement our readings with critical writing about Korea from the fields of cultural studies and the social sciences in order to broaden the terms of our engagement with our primary texts.
Same as: KORGEN 220

KORGEN 121. Doing the Right Thing: Ethical Dilemmas in Korean Film. 3-4 Units.

Ethics and violence seem to be contradictory terms, yet much of Korean film and literature in the past five decades has demonstrated that they are an intricate and in many ways justifiable part of the fabric of contemporary existence. Film exposes time and again the complex ways in which the supposed vanguards of morality, religious institutions, family, schools, and the state are sites of condoned transgression, wherein spiritual and physical violation is inflicted relentlessly. This class will explore the ways in which questions about Truth and the origins of good and evil are mediated through film in the particular context of the political, social, and economic development of postwar South Korea. Tuesday classes will include a brief introduction followed by a film screening that will last on average for two hours; students that are unable to stay until 5 pm will be required to watch the rest of the film on their own.
Same as: KORGEN 221

KORGEN 122. Translating Cool: Globalized Popular Culture in Asia. 3-4 Units.

Did you grow up watching Pokémon and Power Rangers? Have you danced along to "Gangnam Style"? As we become increasingly exposed to Asian popular culture and the Internet facilitates instant access to new media, previous localized forms of entertainment--animated cartoons, comics, video games, music videos, film, and soap operas--have become part of a global staple. However, these cultural forms have emerged not only in their original form with mediation of subtitles. Many have undergone various processes of adaptation and translation so that we no longer recognize that these products had ever originated elsewhere. This course will immerse students in a range of Japanese and Korean cultural phenomena to reveal the spectrum of translation practices across national boundaries. We will inquire into why these cultural forms have such compelling and powerful staying power, contextualize them within their frames of production, and explore the strategies, limitations, and potential of translational practices.nnContact instructor for place. dafnazur@stanford.edunKnight 201.
Same as: JAPANGEN 122, JAPANGEN 222

KORGEN 140. Childhood and Children: Culture in East Asia. 3-5 Units.

Literature for children often reflects society's deepest-held convictions and anxieties, and is therefore a critical site for the examination of what is deemed to be the most imperative knowledge for the young generation. In this respect, the analysis of both texts and visual culture for children, including prose, poetry, folk tales, film, and picture books illuminates prevalent discourses of national identity, family, education and gender. Through an examination of a diverse range of genres and supported by the application of literary theories, students will obtain an understanding, in broad strokes, of the birth of childhood and the emergence of children's literature of China, Korea and Japan from the turn of the century until the present.
Same as: KORGEN 240

KORGEN 198. Senior Colloquium in Japanese Studies. 1 Unit.

Research, write, and present capstone essay or honors thesis.
Same as: JAPANGEN 198

KORGEN 200. Directed Reading. 1-12 Unit.

Directed Reading in Korean Studies.

KORGEN 201. Kangnam Style: Korean Media and Pop Culture. 4 Units.

For over a decade now, South Korea has established itself as a tireless generator of soft power, the popularity of its pop-culture spreading from Asia to the rest of the world. This class will look into the economic engine that moves this "cultural contents" industry, and will examine some of its expressions in the form of K-pop, soap operas, tourism, food, sports, and fashion in order to illuminate the ways in which Korean culture is being (self-)narrated and consumed in this era of globalization of the 21st century.
Same as: KORGEN 101

KORGEN 220. Narratives of Modern and Contemporary Korea. 4-5 Units.

This introductory survey will examine the development of South and North Korean literature from the turn of the 20th century until the present. The course will be guided by historical and thematic inquiries as we explore literature in the colonial period, in the period of postwar industrialization, and contemporary literature from the last decade. We will supplement our readings with critical writing about Korea from the fields of cultural studies and the social sciences in order to broaden the terms of our engagement with our primary texts.
Same as: KORGEN 120

KORGEN 221. Doing the Right Thing: Ethical Dilemmas in Korean Film. 3-4 Units.

Ethics and violence seem to be contradictory terms, yet much of Korean film and literature in the past five decades has demonstrated that they are an intricate and in many ways justifiable part of the fabric of contemporary existence. Film exposes time and again the complex ways in which the supposed vanguards of morality, religious institutions, family, schools, and the state are sites of condoned transgression, wherein spiritual and physical violation is inflicted relentlessly. This class will explore the ways in which questions about Truth and the origins of good and evil are mediated through film in the particular context of the political, social, and economic development of postwar South Korea. Tuesday classes will include a brief introduction followed by a film screening that will last on average for two hours; students that are unable to stay until 5 pm will be required to watch the rest of the film on their own.
Same as: KORGEN 121

KORGEN 240. Childhood and Children: Culture in East Asia. 3-5 Units.

Literature for children often reflects society's deepest-held convictions and anxieties, and is therefore a critical site for the examination of what is deemed to be the most imperative knowledge for the young generation. In this respect, the analysis of both texts and visual culture for children, including prose, poetry, folk tales, film, and picture books illuminates prevalent discourses of national identity, family, education and gender. Through an examination of a diverse range of genres and supported by the application of literary theories, students will obtain an understanding, in broad strokes, of the birth of childhood and the emergence of children's literature of China, Korea and Japan from the turn of the century until the present.
Same as: KORGEN 140

KORGEN 402T. Entrepreneurship in Asian High-Tech Industries. 1 Unit.

Distinctive patterns and challenges of entrepreneurship in Asia; update of business and technology issues in the creation and growth of start-up companies in major Asian economies. Distinguished speakers from industry, government, and academia. Course may be repeated for credit.
Same as: CHINGEN 402T, EE 402T, JAPANGEN 402T