Rooted in an extraordinarily rich lyrical tradition, the "Pacific" novel has developed along a different trajectory than the European-American "Atlantic" novel. In this class we will explore one aspect of this Pacific tradition, the evolution of the Japanese novel (with a glance at the Korean novel). Organized by an aesthetics of indirection, suggestion, and "space," which underwrite a different conception of character and representation (and so of self and world), the Japanese novel makes different demands on the reader, and challenges us to rethink some of our literary assumptions. This course, then, will serve both as an introduction to Japanese literature and culture in the twentieth century and as an opportunity to develop advanced skills in literary analysis. While situating our texts in their cultural context, we will also examine them as participating in a self-conscious formal tradition (which means bucking against it as much as following it). By looking at a cultural tradition from a formal perspective, we’ll ask how form "informs" culture. And by understanding the formal dimension of culture in this way, we’ll enrich our sense of both the genre of the novel and the culture of Japan.

Texts (available in bookstore):
Natsume Soseki, Kokoro
Tanizaki Junichiro, Some Prefer Nettles
Kawabata Yasunari, Snow Country
Abe Kobo, The Woman in the Dunes
Enchi Fumiko, Masks
Oe Kenzaburo, A Personal Matter
Murakami Haruki, Wild Sheep’s Chase
Yi Mun-yol, Our Twisted Hero
Mia Yun, House of the Winds
Banana Yoshimoto, Kitchen

We’ll also regularly be discussing some Japanese films, indicated by (#) on the syllabus; all are on reserve at IMS (basement of Falvey Library)

For each week there are suggested optional readings (for the second meeting there are also 2 required background essays); all of these are on reserve at the library. A complete list of reserve readings is at the end of this syllabus.

Requirements: response papers (15%), 2 short papers (15%, 20%), research project (25%), final (10%), participation (15%) (You must pass each part to pass the class.)

Participation: This is a discussion class. Come to class prepared to discuss the readings. (To do this, of course, you must come to class: attendance is required).

For each meeting, a group of two will start us off with introductory remarks that will frame the class, isolate some important questions to ask of the week’s text, and provide an initial entrée into discussion. These will not require any additional reading or research (though you may do so, if you choose). They are not to be formal presentations, but rather first contributions to discussion. They should not exceed 10 minutes (less is often more), and they should offer places to start instead of definitive interpretations; good questions, not final answers. (In other words, not everything you have to say needs to get into the introductory remarks.)

Plagiarism: Do your work, and do your own work. If you cheat, you fail. Period.

Writing: Because writing well is an integral component of reading well, there will be regular and frequent writing assignments in this class. These will be divided into 3 levels:
First, each week an informal response paper will be due. These are on topics of your own choosing, responses to the week’s readings.
Second, there will be 2 short formal essays (3-5 pages) on topics assigned by me (although you will always have the option of proposing your own topic, which could start from one of your response papers, or something else).
Third, there will be an independent research project. This will be on a topic developed by you in consultation with me, and should involve research into either the context (historical or literary) of one of the readings or the criticism on it, or further reading in one of the authors. Or something else (subject only to the limits of your imagination, and the laws of the commonwealth). If you wish to work with another person, that’s fine. I’m open to a variety of final projects—both topic-wise, and product-wise. We’ll talk about.

Gender-neutral language: It is the norm in professional writing of all sorts to avoid gender-biased language, and that standard is in force in this class as well. In the interests of both good writing and clear thinking, avoid thoughtlessly sexist language.

All papers handed in to me or used for in-class workshops must be word-processed, double spaced, with normal margins and font.

Introduction

8/27   Japanese history, poetry, and aesthetics
brief outline of Japanese history
brief selection of Japanese poetry

9/3   Labor Day: no class

Section 1: Tradition and the Novel

9/10   Natsume Soseki, Kokoro (1914)
(required) J. Thomas Rimer, "Japanese Literature: Four Polarities,"
and Donald Keene, "Japanese Aesthetics," both in Nancy Hume, ed.,
Japanese Aesthetics and Culture: A Reader (the Keene essay is also in
Keene, The Pleasures of Japanese Literature)
(optional) Donald Richie, "Japan: An Introduction," in Richie, A Lateral View; Wm Theodore De Bary, "The Vocabulary of Japanese Aesthetics," in Hume

9/17   Tanizaki Junichiro, Some Prefer Nettles (1929)
(optional) Tanizaki, In Praise of Shadows

9/24   Kawabata Yasunari, Snow Country (1948)
(optional) Kawabata, Nobel Prize Speech
paper 1 assignment

10/1   (#) Ozu Yasujiro, Tokyo Story (1953), Kurosawa Akira, Seven Samurai (1954)
optional: Ozu, Early Summer (1951), Donald Richie, "Introduction," Ozu, David Dresser, "Introduction," Ozu’s Tokyo Story
paper 1 due

Section 2: Redefining Tradition

10/8   Abe Kobo, The Woman in the Dunes (1960)
(#) Teshigahara Hiroshi, The Woman in the Dunes (1964)

10/15   fall break: no class

10/22   Enchi Fumiko, Masks (1958)
(optional) Keene, "Feminine Sensibility in the Heian Era," in Hume
paper 2 assignment

10/29   (#) Kurosawa Akira, Rashomon (1950), Red Beard (1965)
optional: Kurosawa, Yojimbo (1961), Kurosawa, Dodeskaden (1970),
Donald Richie, Films of Kurosawa [Throne of Blood (1957), Ran (1985)]
paper 2 due

Section 3: Beyond Tradition

11/5   Oe Kenzaburo, A Personal Matter (1964)
(optional) Oe, Nobel Prize Speech

11/12   Murakami Haruki, A Wild Sheep’s Chase (1982)
(optional) Alfred Birnbaum, "Introduction," Monkey Brain Sushi

11/19   (#) Itami Juzo, Tampopo (1986), A Taxing Woman (1988)
optional: The Funeral (1985)

Section 4: Beyond Japan

11/26   Yi Mun-yol, Our Twisted Hero (1987)
optional: Peter Lee, "Introduction," Modern Korean Literature

12/3   Mia Yun, House of the Winds (1998)

Wrap-up

12/10   Banana Yoshimoto, Kitchen (1988)
project due

(12/15-12/21 final exams)

on reserve:
Nancy Hume, ed., Japanese Aesthetics and Culture: A Reader
Donald Keene, The Pleasures of Japanese Literature
Donald Richie, A Lateral View
Tanizaki Junichiro, In Praise of Shadows
Donald Richie, The Films of Kurosawa
Donald Richie, Ozu
David Bordwell, Ozu and the Poetic of Cinema
David Dresser, Ozu’s Tokyo Story
Alfred Birnbaum, ed., Monkey Brain Sushi
Peter Lee, "Introduction," Modern Korean Literature