日本語 English
| 開講年度/ Academic YearAcademic Year |
20242024 |
| 科目設置学部/ CollegeCollege |
文学部/College of ArtsCollege of Arts |
| 科目コード等/ Course CodeCourse Code |
AL393/AL393AL393 |
| テーマ・サブタイトル等/ Theme・SubtitleTheme・Subtitle |
Postmodern Turn in Japanese Arts |
| 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2/Thu.2 Thu.2 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 |
Differentiate between modernity and postmodernity
-Think critically about what culture and art entails
-Identify the political and historical contexts of different art movements from the 20th to the 21st century and how they impacted Japan
-Learn how to analyze visual form and think critically
-Recognize major art movements, events and artists from 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 modern and contemporary art in different latitudes
What is “modernity” and “postmodernity” and how do such concepts help us navigate the art world? 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 West. Using Japan as a departure point and taking on a transcultural view, we will examine its role as a place of exchange, connection, and creation, particularly in the post-war period and the beginning of the 21st century. We will maintain a thematic structure that will allow us to look at specific art movements and events that helped shape modernity and postmodernity in the context of Japan, while emphasizing their impact in a wider cultural, linguistic and geographic context. We will examine the work of prominent scholars that have theorized modernity and the transition or the juxtaposition to the “postmodern condition”.
The course will challenge you to critique the notion of ‘art’ and what constitutes the modern and the contemporary in culture.
| 1 | Introduction |
| 2 | Mapping Modernity Readings:Excerpts from: Osborne, Peter, The Politics of Time Modernity and Avant-Garde, Verso, 2010. Adorno, Theodor & Horkheimer, Max, Dialectics of Enlightenment, Verso, 1997. |
| 3 | Modernity in Japan (special guest lecturer) Readings: TBA |
| 4 | Modernity and Aesthetics in Japan Readings: Excerpts from: Sato, Doshi, Modern Japanese Art and the Meiji State: The Politics of Beauty, Getty, 2011 Marra, Michele, Modern Japanese Aesthetics: a reader, University of Hawaii Press, 2001. |
| 5 | Japanese Cultural Identity in Modern Art Readings: Excerpts from: Mostow, Joshua, Norman, Bryson, et al., Gender and Power in the Japanese Visual Field, University of Hawaii Press, 2003. Winther-Tamaki, Bert, Maximum Embodiment: Yoga, the Western Painting of Japan, 1912-1955, University of Hawaii Press, 2012 |
| 6 | Towards a Postmodern Turn (?) Readings: Excerpts from: Jameson, Frederic, Postmodernism, or the Cultural Logic of Late Capitalism, Verso, 1992. Ivy, Marilyn, Discourses of the Vanishing, University of Chicago Press, 1997. |
| 7 | The Japanese Postmodern in Western Eyes Reading:Guattari, Félix, Machinic Eros: Writings on Japan, Univocal, 2015. TBA |
| 8 | Postmodernity Art and Subculture Readings:Murakami, Takashi, Little Boy: The Arts of Japan’s Exploding Subculture, Yale University Press, 2005. TBA |
| 9 | Postmodernity, Gender, Japan and the Posthuman Reading:Haraway, Donna, A Cyborg Manifesto, Socialist Review, 1985. Excerpts from: Lamarre, Thomas, The Anime Machine: a media theory of animation, University of Minnesota Press, 2009. Movie:Mamoru Oshii, Ghost in the Shell, (1995). |
| 10 | Queer Art and the Postmodern Condition, Yasumasa Morimura and the Pastiche Readings:Brandes, Kerstin, Morimura/Duchamp: ImageRecycling and Parody, Edinburg University Press, 2003. TBA |
| 11 | Queer Art 2 (Special guest lecturer) Reading:TBA |
| 12 | Blurring the Realm Between Subculture and Fine Arts: Nara, Murakami, Aida & Chim/Pom Readings: Excerpts from: Murakami, Takashi, Superflat, Last Gasp, 2003. Excerpts from: Aida, Makoto, MONUMENT FOR NOTHING: Tensai De Gomen Nasai, SEIGENSHA Art Publishing, Inc., 2012, (catalogue) TBA |
| 13 | Pop Culture, the State and Cultural Identity TBA |
| 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
A minimum of two hour of 'Outside-Class' individual study is expected for each session.
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
Reading responses(50%) Final essay(30%) attendance and participation(20%) |
| 備考 (Notes) | ||
なし/None
Differentiate between modernity and postmodernity
-Think critically about what culture and art entails
-Identify the political and historical contexts of different art movements from the 20th to the 21st century and how they impacted Japan
-Learn how to analyze visual form and think critically
-Recognize major art movements, events and artists from 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 modern and contemporary art in different latitudes
What is “modernity” and “postmodernity” and how do such concepts help us navigate the art world? 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 West. Using Japan as a departure point and taking on a transcultural view, we will examine its role as a place of exchange, connection, and creation, particularly in the post-war period and the beginning of the 21st century. We will maintain a thematic structure that will allow us to look at specific art movements and events that helped shape modernity and postmodernity in the context of Japan, while emphasizing their impact in a wider cultural, linguistic and geographic context. We will examine the work of prominent scholars that have theorized modernity and the transition or the juxtaposition to the “postmodern condition”.
The course will challenge you to critique the notion of ‘art’ and what constitutes the modern and the contemporary in culture.
| 1 | Introduction |
| 2 | Mapping Modernity Readings:Excerpts from: Osborne, Peter, The Politics of Time Modernity and Avant-Garde, Verso, 2010. Adorno, Theodor & Horkheimer, Max, Dialectics of Enlightenment, Verso, 1997. |
| 3 | Modernity in Japan (special guest lecturer) Readings: TBA |
| 4 | Modernity and Aesthetics in Japan Readings: Excerpts from: Sato, Doshi, Modern Japanese Art and the Meiji State: The Politics of Beauty, Getty, 2011 Marra, Michele, Modern Japanese Aesthetics: a reader, University of Hawaii Press, 2001. |
| 5 | Japanese Cultural Identity in Modern Art Readings: Excerpts from: Mostow, Joshua, Norman, Bryson, et al., Gender and Power in the Japanese Visual Field, University of Hawaii Press, 2003. Winther-Tamaki, Bert, Maximum Embodiment: Yoga, the Western Painting of Japan, 1912-1955, University of Hawaii Press, 2012 |
| 6 | Towards a Postmodern Turn (?) Readings: Excerpts from: Jameson, Frederic, Postmodernism, or the Cultural Logic of Late Capitalism, Verso, 1992. Ivy, Marilyn, Discourses of the Vanishing, University of Chicago Press, 1997. |
| 7 | The Japanese Postmodern in Western Eyes Reading:Guattari, Félix, Machinic Eros: Writings on Japan, Univocal, 2015. TBA |
| 8 | Postmodernity Art and Subculture Readings:Murakami, Takashi, Little Boy: The Arts of Japan’s Exploding Subculture, Yale University Press, 2005. TBA |
| 9 | Postmodernity, Gender, Japan and the Posthuman Reading:Haraway, Donna, A Cyborg Manifesto, Socialist Review, 1985. Excerpts from: Lamarre, Thomas, The Anime Machine: a media theory of animation, University of Minnesota Press, 2009. Movie:Mamoru Oshii, Ghost in the Shell, (1995). |
| 10 | Queer Art and the Postmodern Condition, Yasumasa Morimura and the Pastiche Readings:Brandes, Kerstin, Morimura/Duchamp: ImageRecycling and Parody, Edinburg University Press, 2003. TBA |
| 11 | Queer Art 2 (Special guest lecturer) Reading:TBA |
| 12 | Blurring the Realm Between Subculture and Fine Arts: Nara, Murakami, Aida & Chim/Pom Readings: Excerpts from: Murakami, Takashi, Superflat, Last Gasp, 2003. Excerpts from: Aida, Makoto, MONUMENT FOR NOTHING: Tensai De Gomen Nasai, SEIGENSHA Art Publishing, Inc., 2012, (catalogue) TBA |
| 13 | Pop Culture, the State and Cultural Identity TBA |
| 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
A minimum of two hour of 'Outside-Class' individual study is expected for each session.
| 種類 (Kind) | 割合 (%) | 基準 (Criteria) |
|---|---|---|
| 平常点 (In-class Points) | 100 |
Reading responses(50%) Final essay(30%) attendance and participation(20%) |
| 備考 (Notes) | ||
なし/None