日本語 English
| 開講年度/ Academic YearAcademic Year |
20252025 |
| 科目設置学部/ CollegeCollege |
文学部/College of ArtsCollege of Arts |
| 科目コード等/ Course CodeCourse Code |
AL392/AL392AL392 |
| テーマ・サブタイトル等/ Theme・SubtitleTheme・Subtitle |
|
| 授業形態/ Class FormatClass Format |
対面（全回対面）/Face to face (all classes are face-to-face)Face to face (all classes are face-to-face) |
| 授業形態（補足事項）/ Class Format (Supplementary Items)Class Format (Supplementary Items) |
|
| 授業形式/ Class StyleCampus |
講義/LectureLecture |
| 校地/ CampusCampus |
池袋/IkebukuroIkebukuro |
| 学期/ SemesterSemester |
秋学期/Fall semesterFall semester |
| 曜日時限・教室/ DayPeriod・RoomDayPeriod・Room |
木3/Thu.3 Thu.3 ログインして教室を表示する（Log in to view the classrooms.） |
| 単位/ CreditsCredits |
22 |
| 科目ナンバリング/ Course NumberCourse Number |
ART3201 |
| 使用言語/ LanguageLanguage |
英語/EnglishEnglish |
| 履修登録方法/ Class Registration MethodClass Registration Method |
抽選登録/Lottery RegistrationLottery Registration（定員：10人/ Capacity：10） |
| 配当年次/ Assigned YearAssigned Year |
配当年次は開講学部のR Guideに掲載している科目表で確認してください。配当年次は開講学部のR Guideに掲載している科目表で確認してください。 |
| 先修規定/ Prerequisite RegulationsPrerequisite Regulations |
|
| 他学部履修可否/ Acceptance of Other CollegesAcceptance of Other Colleges |
履修登録システムの『他学部・他研究科履修不許可科目一覧』で確認してください。 |
| 履修中止可否/ Course CancellationCourse Cancellation |
〇（履修中止可/ Eligible for cancellation） |
| オンライン授業60単位制限対象科目/ Online Classes Subject to 60-Credit Upper LimitOnline Classes Subject to 60-Credit Upper Limit |
|
| 学位授与方針との関連/ Relationship with Degree PolicyRelationship with Degree Policy |
各授業科目は、学部・研究科の定める学位授与方針（DP）や教育課程編成の方針（CP）に基づき、カリキュラム上に配置されています。詳細はカリキュラム・マップで確認することができます。 |
| 備考/ NotesNotes |
GLAP併置科目（英語による授業） 履修にあたってはIELTS6.0程度の英語力が求められる |
General Objectives:
-Differentiate between premodern and modern
-Think critically about what culture and art entails
-Identify the political and historical contexts that resulted in the selection and creation of what constitutes ‘traditional culture’ and its manifestations.
-Identify the historical periodization of culture in Japan.
-Learn how to analyze cultural productions and think critically
Specific Objectives:
-Recognize arts, crafts and artists from premodern and early modern Japan
-Understand the exchanges and connections in the art world beyond the neatly defined borders and linguistic groups
-Discern the relation between politics and aesthetics
-Compare the processes of traditional and modern art
Course Description:
What is ‘tradition’ and ‘traditional art’ and how do such concepts feed into the notion of a nation or a people? How do they help us navigate the culture and art from a specific region in a determinate time frame? In this course we will explore various cultural manifestations that will help us to think critically about these concepts, especially looking beyond the standard narrative that focuses on the idea of Japan as a ‘continuous and homogenous people’. We will discuss how such concepts have been instrumentalized into projects for nation and identity building. We will maintain a thematic structure that will allow us to look at specific artistic and cultural manifestations that ultimately helped shape our conception of traditional Japan and its transition into modernity. We will examine the work of prominent scholars that have theorized on the formation of Japan as a cultural space and the place of art and crafts in Japan before and after modernity.
The course will challenge you to critique the notion of what constitutes the traditional and the place of art in culture and nation building.
| 1 | Introduction |
| 2 | Mapping Tradition: the invention of the origin Readings:Excerpts from: Anderson, Benedict, Imagined Communities: Reflections on the Origin and spread of Nationalism, Verso, 1983. Excerpts from: Hobsbawm, Eric and Ranger, Terence, The Invention of Tradition, Cambridge University Press, 1983. Excerpts from: Hudson, Mark J., Ruins of Identity: Ethnogenesis in the Japanese Islands, Hawaii University Press, 1999. |
| 3 | Traditional Arts of Where? The making of Japan as an homogeneous space Readings: Vlastos, Stephen, “Tradition: Past, Present Culture and Modern Japanese History”, in: Mirror of modernity: invented traditions of modern Japan, edited by Stephen Vlastos, University of California Press, Berkeley, 1998. Morris, Low, “Physical Anthropology in Japan: The Ainu and the Search for the Origins of the Japanese” in: Current Anthropology , Vol. 53, No. S5, The Biological Anthropology of Living Human Populations: World Histories, National Styles, and International Networks (April 2012), pp. S57-S68, University of Chicago Press. |
| 4 | Tradition: What, When and by Who? The reification of culture and identity in material production Readings: Morris-Suzuki, Tessa, “The Invention and Reinvention of "Japanese Culture" in: The Journal of Asian Studies, Vol. 54, No. 3 (Aug., 1995), pp. 759-780, Duke University Press. Excerpts from: Addiss, Stephen; Groemer, Gerald and Rimer, J. Thomas (ed.), Traditional Japanese Arts and Culture, University of Hawaii Press, 2006. |
| 5 | Art vs Craft: hierarchy and value in cultural phenomena Readings: Blakely Jeff,“Art vs. Craft” in: Landscape Architecture Magazine, Vol. 88, No. 10 (OCTOBER 1998). TBA |
| 6 | Japanese Cultural Identity in Traditional Art Readings: Excerpts from: Lebra Sugiyama, Takie, The Japanese Self in Cultural Logic, University of Hawaii Press, 2004. TBA |
| 7 | Popular Media in Premodern Japan Readings:Guth, Christine. “Development in Woodblock Prints: 1660–1760,” in Art of Edo Japan: The Artist and the City 1615–1868 (New York: Harry N. Abrams, Inc., 1996) 99–117. Burnham, Helen and Jane E. Braun. “Introduction: The Allure of Japan,” in Looking East: Western Artists and the Allure of Japan from the Museum of Fine Arts, Boston, edited by Endo Nozomi, Kato Aya, Ozaki Masato et al. (NHK Promotions, 2014) 226–229. |
| 8 | Popular Media in Premodern Japan 2 Readings:Excerpts from: Salter, Rebecca, Japanese Woodblock Printing, University of Hawaii Press, 2002. TBA |
| 9 | Japanese Cultural Identity in Western Eyes (Japonisme) Reading:Excerpts from: Lambourne, Lionel, Japonisme : cultural crossings between Japan and the West, Phaidon, 2005. Wichmann, Siegfried, Japonisme : the Japanese influence on Western art since 1858, Thames and Hudson, 1983. |
| 10 | Performing Tradition: The making of the performative arts Readings:Excerpts from: Thornbury, Barbara E. , The Folk Performing Arts: Traditional Culture in Contemporary Japan, State University of New York Press, 1997. |
| 11 | Gender in Japanese Art Reading:Chino Kaori, “Gender in Japanese Art” (2003), in Gender and Power in the Japanese Visual Field, Mostow, Joshua, Norman, Bryson, et al., University of Hawaii Press, 2003. Mostow, Joshua, “The Gender of Wakashu and the Grammar of Desire” in Gender and Power in the Japanese Visual Field, Mostow, Joshua, Norman, Bryson, et al., University of Hawaii Press, 2003 (49). |
| 12 | The Modern Paradigm: the metamorphosis of the Japanese cultural space Readings:Jansen, B. Marius. “Cultural Change in Nineteenth-Century Japan,” in: Challenging Past and Present, edited by Ellen P. Conant, University of Hawaii Press, 2006. Chakrabarty, Dipesh, “Revisiting the Tradition / Modernity Binary”, in: Mirror of modernity: invented traditions of modern Japan, edited by Stephen Vlastos, University of California Press, Berkeley, 1998. |
| 13 | Meiji Restoration: Nihonga and Yoga, new traditions for a new nation Readings:Kinoshita, Nagahiro. “Okakura Tenshin and Nihonga,” in Nihonga Transcending the Past: Japanese-Style Painting, 1868–1968, edited by Ellen P. Conant (The Saint Louis Art Museum and Japan Foundation, 1995) 100–101. Excerpts from: Winther-Tamaki, Bert, Maximum Embodiment: Yoga, the Western Painting of Japan, 1912-1955, University of Hawaii Press, 2012. |
| 14 | Wrap up Session **Submission of the final paper ** |
板書 /Writing on the Board
スライド（パワーポイント等）の使用 /Slides (PowerPoint, etc.)
上記以外の視聴覚教材の使用 /Audiovisual Materials Other than Those Listed Above
個人発表 /Individual Presentations
グループ発表 /Group Presentations
ディスカッション・ディベート /Discussion/Debate
実技・実習・実験 /Practicum/Experiments/Practical Training
学内の教室外施設の利用 /Use of On-Campus Facilities Outside the Classroom
校外実習・フィールドワーク /Field Work
上記いずれも用いない予定 /None of the above
An estimate of two to four hours of individual study outside of the classroom is expected for each session.
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
Reading responses(50%) attendance and particioation(20%) Final Report(30%) |
| 備考 (Notes) | ||
なし/None
General Objectives:
-Differentiate between premodern and modern
-Think critically about what culture and art entails
-Identify the political and historical contexts that resulted in the selection and creation of what constitutes ‘traditional culture’ and its manifestations.
-Identify the historical periodization of culture in Japan.
-Learn how to analyze cultural productions and think critically
Specific Objectives:
-Recognize arts, crafts and artists from premodern and early modern Japan
-Understand the exchanges and connections in the art world beyond the neatly defined borders and linguistic groups
-Discern the relation between politics and aesthetics
-Compare the processes of traditional and modern art
Course Description:
What is ‘tradition’ and ‘traditional art’ and how do such concepts feed into the notion of a nation or a people? How do they help us navigate the culture and art from a specific region in a determinate time frame? In this course we will explore various cultural manifestations that will help us to think critically about these concepts, especially looking beyond the standard narrative that focuses on the idea of Japan as a ‘continuous and homogenous people’. We will discuss how such concepts have been instrumentalized into projects for nation and identity building. We will maintain a thematic structure that will allow us to look at specific artistic and cultural manifestations that ultimately helped shape our conception of traditional Japan and its transition into modernity. We will examine the work of prominent scholars that have theorized on the formation of Japan as a cultural space and the place of art and crafts in Japan before and after modernity.
The course will challenge you to critique the notion of what constitutes the traditional and the place of art in culture and nation building.
| 1 | Introduction |
| 2 | Mapping Tradition: the invention of the origin Readings:Excerpts from: Anderson, Benedict, Imagined Communities: Reflections on the Origin and spread of Nationalism, Verso, 1983. Excerpts from: Hobsbawm, Eric and Ranger, Terence, The Invention of Tradition, Cambridge University Press, 1983. Excerpts from: Hudson, Mark J., Ruins of Identity: Ethnogenesis in the Japanese Islands, Hawaii University Press, 1999. |
| 3 | Traditional Arts of Where? The making of Japan as an homogeneous space Readings: Vlastos, Stephen, “Tradition: Past, Present Culture and Modern Japanese History”, in: Mirror of modernity: invented traditions of modern Japan, edited by Stephen Vlastos, University of California Press, Berkeley, 1998. Morris, Low, “Physical Anthropology in Japan: The Ainu and the Search for the Origins of the Japanese” in: Current Anthropology , Vol. 53, No. S5, The Biological Anthropology of Living Human Populations: World Histories, National Styles, and International Networks (April 2012), pp. S57-S68, University of Chicago Press. |
| 4 | Tradition: What, When and by Who? The reification of culture and identity in material production Readings: Morris-Suzuki, Tessa, “The Invention and Reinvention of "Japanese Culture" in: The Journal of Asian Studies, Vol. 54, No. 3 (Aug., 1995), pp. 759-780, Duke University Press. Excerpts from: Addiss, Stephen; Groemer, Gerald and Rimer, J. Thomas (ed.), Traditional Japanese Arts and Culture, University of Hawaii Press, 2006. |
| 5 | Art vs Craft: hierarchy and value in cultural phenomena Readings: Blakely Jeff,“Art vs. Craft” in: Landscape Architecture Magazine, Vol. 88, No. 10 (OCTOBER 1998). TBA |
| 6 | Japanese Cultural Identity in Traditional Art Readings: Excerpts from: Lebra Sugiyama, Takie, The Japanese Self in Cultural Logic, University of Hawaii Press, 2004. TBA |
| 7 | Popular Media in Premodern Japan Readings:Guth, Christine. “Development in Woodblock Prints: 1660–1760,” in Art of Edo Japan: The Artist and the City 1615–1868 (New York: Harry N. Abrams, Inc., 1996) 99–117. Burnham, Helen and Jane E. Braun. “Introduction: The Allure of Japan,” in Looking East: Western Artists and the Allure of Japan from the Museum of Fine Arts, Boston, edited by Endo Nozomi, Kato Aya, Ozaki Masato et al. (NHK Promotions, 2014) 226–229. |
| 8 | Popular Media in Premodern Japan 2 Readings:Excerpts from: Salter, Rebecca, Japanese Woodblock Printing, University of Hawaii Press, 2002. TBA |
| 9 | Japanese Cultural Identity in Western Eyes (Japonisme) Reading:Excerpts from: Lambourne, Lionel, Japonisme : cultural crossings between Japan and the West, Phaidon, 2005. Wichmann, Siegfried, Japonisme : the Japanese influence on Western art since 1858, Thames and Hudson, 1983. |
| 10 | Performing Tradition: The making of the performative arts Readings:Excerpts from: Thornbury, Barbara E. , The Folk Performing Arts: Traditional Culture in Contemporary Japan, State University of New York Press, 1997. |
| 11 | Gender in Japanese Art Reading:Chino Kaori, “Gender in Japanese Art” (2003), in Gender and Power in the Japanese Visual Field, Mostow, Joshua, Norman, Bryson, et al., University of Hawaii Press, 2003. Mostow, Joshua, “The Gender of Wakashu and the Grammar of Desire” in Gender and Power in the Japanese Visual Field, Mostow, Joshua, Norman, Bryson, et al., University of Hawaii Press, 2003 (49). |
| 12 | The Modern Paradigm: the metamorphosis of the Japanese cultural space Readings:Jansen, B. Marius. “Cultural Change in Nineteenth-Century Japan,” in: Challenging Past and Present, edited by Ellen P. Conant, University of Hawaii Press, 2006. Chakrabarty, Dipesh, “Revisiting the Tradition / Modernity Binary”, in: Mirror of modernity: invented traditions of modern Japan, edited by Stephen Vlastos, University of California Press, Berkeley, 1998. |
| 13 | Meiji Restoration: Nihonga and Yoga, new traditions for a new nation Readings:Kinoshita, Nagahiro. “Okakura Tenshin and Nihonga,” in Nihonga Transcending the Past: Japanese-Style Painting, 1868–1968, edited by Ellen P. Conant (The Saint Louis Art Museum and Japan Foundation, 1995) 100–101. Excerpts from: Winther-Tamaki, Bert, Maximum Embodiment: Yoga, the Western Painting of Japan, 1912-1955, University of Hawaii Press, 2012. |
| 14 | Wrap up Session **Submission of the final paper ** |
板書 /Writing on the Board
スライド（パワーポイント等）の使用 /Slides (PowerPoint, etc.)
上記以外の視聴覚教材の使用 /Audiovisual Materials Other than Those Listed Above
個人発表 /Individual Presentations
グループ発表 /Group Presentations
ディスカッション・ディベート /Discussion/Debate
実技・実習・実験 /Practicum/Experiments/Practical Training
学内の教室外施設の利用 /Use of On-Campus Facilities Outside the Classroom
校外実習・フィールドワーク /Field Work
上記いずれも用いない予定 /None of the above
An estimate of two to four hours of individual study outside of the classroom is expected for each session.
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
Reading responses(50%) attendance and particioation(20%) Final Report(30%) |
| 備考 (Notes) | ||
なし/None