|OSAKA UNIVERSITY SHORT-TERM STUDENT EXCHANGE PROGRAM _|
Andrew MURAKAMI-SMITH (Graduate School of Language and Culture)
In this course, students will read a variety of Japanese short fiction and gain a deeper understanding of these literary works in their historical context. To appreciate the historical background of modern Japanese literature and society, we will first go back to the pre-modern period and read several works from the canon of classical Japanese literature. We will then proceed to the modern era and read a wide selection of pre-war authors (1868-1945), including the following.
-Higuchi Ichiyo (whose face is on the \5,000 bill), who continued to be influenced by the classical tradition, and Izumi Kyoka and Akutagawa Ryunosuke, who turned old legends and tales into modern fiction.
- Meiji experimenters like Kunikida Doppo, who forged a new literary style, and later modernist stylists like Yokomitsu Riichi and the early Kawabata Yasunari.
- Canonical writers like Shiga Naoya and Tanizaki Junichiro.
- Native Osaka writers like Kamitsukasa Shoken, Kajii Motojiro, Takeda Rintaro, and Oda Sakunosuke.
Beginning in the middle part of the semester, students will make group presentations on the works and authors read, also referring to relevant literary criticism. Group presentations should stimulate discussions in class. A final paper (which may be based on your group presentation) will be due at the end of the semester.
A field trip to attend a performance of Bunraku, or traditional puppet theater, is planned for November. (Details will be announced later.) The first of the group presentations will be an explanation of the puppet theater and the performance by some of the students who attend the field trip.
Theodore W. Goossen, ed., Oxford Book of Japanese Short Stories (Oxford Univ. Press)
Most of the stories we will read are in this anthology. Copies of other stories to be read (marked with an asterisk (*) in the schedule below) will be provided to students. (The same textbook will also be used in the Spring semester in gContemporary Japanese Literature (Post-War).h)
Evaluation will be based on attendance (20%)
Preparation for and participation in class (20%)
The group presentation (30%)
The final paper (30%)
1: Explanation of course. Overview of Japanese history, language and literature before 1868.
2: The Classical Tradition: Excerpts from Sei Shonagon, The Pillow Book* (996), TheTale of the Heike* (1371), and Ihara Saikaku, Five Women Who Loved Love* (1686).
3: The Classical Tradition: A play by Chikamatsu Monzaemon* (to be announced) and excerpts from Jippensha Ikku, Travels on the Eastern Seaboard* (1802-22) and Tamenaga Shunsui, Spring-color Plum Calendar* (1832).
4: Classical Echoes: Higuchi Ichiyo, gFall Wardrobeh* (1896) and gSeparate Waysh (1896).
5: Finding a New Literary Voice: Kunikida Doppo, gThe Bonfireh (1896) and gOld Genh* (1897).
6: Meiji Nostalgia: Nagai Kafu, gThe Peony Gardenh (1909) and gA Strange Tale from East of the Riverh* (1937).
7: Izumi Kyoka, gThe Holy Man of Mt. Koyah* (1900) and gA Quiet Obsessionh* (1924).
8: The gI-Novelh: Shiga Naoya, gNight Firesh (1920) and Kajii Motojiro, gLemonh (1924).
9: Modernists: Akutagawa Ryunosuke, gIn a Groveh (1922), and Yokomitsu Riichi, gSpring Riding in a Carriageh (1926) and gMachineh* (1930).
10: Modernists: Yasunari Kawabata, gThe Izu Dancerh (1925) and gKid Ume, the Silver Cath* (excerpt from The Crimson Gang of Asakusa, 1930).
11: Proletarians: Kobayashi Takiji, gThe Cannery Boath* (1929) and Takeda Rintaro, gKamagasakih* (1933).
12: Women Writers: Hayashi Fumiko, gThe Accordion and the Fish Townh (1931) and Okamoto Kanoko, gPortrait of an Old Geishah (1938).
13: Tanizaki Junichiro, gAgurih (1922) and gA Portrait of Shunkinh* (1933).
14: Osaka Nostalgia: Kamitsukasa Shoken, gThe Skin of the Pike Conger Eelh* (1914) and Oda Sakunosuke, gHurray for Marriage, or Sweet Beans for Twoh* (1940).
15: Vanishing Worlds: Excerpt from Tanizaki Junichiro, The Makioka Sisters* (1948) and Oda Sakunosuke, gCity of Treesh* (1944).
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