Japanese Poetry and Drama
Throughout Japan’s literary history, poetry and drama have followed parallel courses. As living art forms, both naturally reflected their shared world, but the connection between the two goes far deeper, with drama frequently incorporating poetic conventions and poetry often treated as a performed rather than simply a written art. This course tracks the development of poetry and drama over more than a millennium, from their mutual origins in Japanese ritual practice, through the lofty elegance of the Heian era, the austere Buddhism of the medieval period, the commoner culture of the Edo, and finally the reaction of traditional forms to Western culture in the modern period. Throughout, the focus of the course will be on the ways in which the forms interact as they both reflect and affect the aesthetic world of their time. This course makes extensive use of the university’s Blackboard online learning environment, both to distribute readings and other materials and as a forum for submitting and responding to reaction papers. The Blackboard interface is fairly straightforward, but if you have no experience using the system or are uncomfortable with computers, let me know immediately so we can help you get started. Becoming experienced with using Blackboard is vital to your success in this course. Grades will be assessed as follows: Attendance and Participation 10% Assignments 10% Six Online Reaction Papers 6 x 5% = 30% Twelve Online Responses 12 x 1% = 12% Eight Wiki Edits 8 x 1% = 8% Midterm Exam 15% Final Exam 15% Think of the class as being divided into two halves, with half of the required assignments falling in each half. Thus, half of the online reaction papers (3), online responses (6), and wiki edits (4) must be completed by the time of the midterm exam (Feb. 15th). Most important, both to your grade and to the success of the class, is keeping up on the assigned readings and being ready and willing to discuss them, both in the classroom and online. I do take attendance, as well as take note of your participation in class, and these factors do affect your grade. Throughout the semester you will also be required to post reaction papers and responses to the Blackboard online discussion board. A reaction paper should be approximately two pages long and should articulate your reaction to that day’s readings. It does not need to be a formal argumentative essay, but it should be more substantive than mere summary. It is intended to give your interpretation of the material in light of your own experience and the issues we raise in class, and should show an active engagement with the text. Remember: you aren’t expected to be an expert on the topic, just an engaged reader. Reaction papers must be posted online by midnight the night before the class in which the readings are to be discussed, in order to give your fellow students time to read them and respond before class. Late reaction papers are useless to fostering online discussion and thus will not be accepted. Three of these papers are required in each half of the semester (6 total) and you may choose any of the readings to which you wish to respond, but you may not write more than one in any given week. When a video is assigned you may write primarily about the video, but you should relate your discussion to the written assignments as well as the video itself. Although there will be many days when you do not write a reaction paper yourself, other students’ reaction papers are considered a part of the required reading for all students, and you should make a point of reading the other students’ reactions, and perhaps writing an online response to them, before coming to class. There is no set length for these responses, but they should respond not only to the text itself, but to the other students’ reactions and show a willingness to engage with other students’ ideas rather than relying only on one’s own interpretation. The deadline for writing a response is the beginning of each class, and a minimum of twelve of these responses are required over the course of the semester (six per half), though you are encouraged to write more. These online discussions are intended to act as a forum for discussion of the texts prior to hearing about them in the lectures, and they will provide the basis for in-class discussion of the texts. The class wiki is intended to help students share resources as they process material, study for exams, etc. A wiki is a communally created website, in this case focused on the material covered in this course. I have set up the framework, including an outline of authors, works, genres, and key terms, and the students in LIT 221 began to fill in the content based on the materials we covered during that course. It is up to you to provide the content from this semester. You are required to make eight edits to the wiki over the course of the semester (send me an e-mail describing what you did in order to insure you receive credit), but it is intended to serve as a resource for your study, so the more time and effort are put into it, the more valuable it will be. There are three required texts for this course, indicated by abbreviation on the schedule: Traditional Japanese Arts and Culture, Stephen Addiss, etc. TJAC Traditional Japanese Poetry, Steven Carter TJP Traditional Japanese Theater, Karen Brazell TJT Additional readings will be made available in pdf format in the “Materials” section of Blackboard, and are identified on the syllabus with a ¿ mark. On any given day, there may be assigned readings, poems, audio clips, or videos marked on the schedule. For each day we work on poetry, select at least one poem from the required readings and come to class ready to discuss its significance and your reasons for choosing it. Frequently, one of the readings will be a page of multiple translations of certain poems, provided to give a sense of the various possibilities in rendering meaning, style, and aesthetic effect from Japanese into English translation. On many days you will also be required to view videos or images, or listen to audio clips. Shorter clips and images will be provided via Blackboard, while longer videos can be viewed on the computers at the Tucker Multimedia Center (TMC) beginning one week prior to the date they are scheduled. Course Schedule Week One Beginnings M 1/7 Introduction and Syllabus W 1/9 Poetry and Performance as Ritual Practice Readings: “Introduction” and “Early Japan,” TJAC pp. 1-21 Excerpt from Kojiki pp. 65-73 ¿ “Shamanic Dance in Japan” excerpt, Averbuch pp. 293-300 ¿ View: Video clips and images on Blackboard ¿ F 1/11 The Man’yôshû – poetry from ritual to literature Readings: “Early Japan” continued – TJAC pp. 21-32 TJP pp. 17-41 Multiple translations ¿ Week Two The Rise of Court Poetry M 1/14 The Man’yôshû – continued Readings: TJP pp. 41-71 Multiple translations ¿ W 1/16 The Heian Period and the Kokinshû Readings: “Courtly Japan” – TJAC pp. 33-43 TJP pp. 73-89 Multiple translations ¿ F 1/18 Heian poetry - continued Readings: TJP pp. 90-95, 100-124 Excerpt from Izumi Shikibu nikki, Miner pp. 95-133 ¿ Multiple translations ¿ Week Three Poetry and Performance in the Heian Period M 1/21 Heian Music and Dance Readings: “Music and the Beginnings of Theater” – TJAC pp. 65-80 “Emperor Go-Shirakawa and Imayô” Kim pp. 1-22, 46-58 ¿ Excerpts from Saibara and Ryôjin Hishô, Satô pp. 152-162 ¿ Listen to: Gagaku and Saibara samples on Blackboard ¿ W 1/23 Poetry as Competition Readings: Kintô’s Shinsen Zuinô, pp. 154-159 ¿ Kintô’s Waka Kuhon, pp. 160-164 ¿ “The Muse in Competition” Ito pp. 201-222 ¿ Fujiwara no Tadamichi uta-awase, Ito pp. 146-186 ¿ Excerpt from Japanese Court Poetry, Brower & Miner, pp. 249-253 ¿ In Class: Begin uta awase assignment F 1/25 Mock Convention – Class Cancelled Week Four Into the Medieval Period M 1/28 Performing literature Readings: “Samurai Japan” – TJAC pp. 81-92 “Medieval Jongleurs” Ruch pp. 279-309 ¿ “Between Literature and Music” Ueda pp. 114-127 ¿ Heike Monogatari excerpts Watson pp. 35-42, 98-100, 126-130 ¿ View: Heikyoku clips on Blackboard ¿ W 1/30 Changing Poetic Ideals Readings: “Samurai Japan” – TJAC pp. 93-99 Excerpt from Chômei’s Mumyôshô pp. 404-409 ¿ Preface to Teika’s Kindai Shûka pp. 41-47 ¿ Teika’s Maigetsushô pp. 409-424 ¿ TJP pp. 145-168 Multiple translations ¿ F 2/1 The Shinkokinshû Readings: TJP pp. 168-205 Multiple translations ¿ Week Five Nô theater – Women & Warriors, Gods & Demons M 2/4 Zeami and the rise of Nô Readings: : “Theatrical and Musical Performance” – TJAC pp. 111-128 “Vocabulary of Japanese Aesthetics II” deBary pp. 364-383 ¿ “Elements of Performance” TJT pp. 115-125 W 2/6 Nô plays Readings: : “Shunkan” TJT pp. 179-192 “Atsumori” TJT pp. 126-142 “Izutsu” TJT pp. 143-157 View: Video Izutsu at the TMC F 2/8 Nô plays Readings: “Dôjôji” TJT pp. 193-206 “Kanawa” (The Iron Crown) Keene pp. 193-204 ¿ “Aoi no Ue” Goff pp. 134-139 ¿ Nô Performance Guide: Aoinoue ¿ View: Video Aoi no Ue at the TMC Week Six Kyôgen and Renga M 2/11 Kyôgen Readings: “The Making of the Comic” Ueda pp. 101-113 ¿ “Two Daimyô” TJT pp. 226-234 “The Delicious Poison” TJT pp. 235-244 “Mushrooms” TJT pp. 245-254 “The “Sickley” Stomach” TJT pp. 267-275 View: Video Busu (Delicious Poison) at the TMC W 2/13 Renga Readings: “Renga” – TJAC pp. 99-102 “Verse-Writing as a Game” Ueda pp. 37-54 ¿ TJP pp. 275-281, 285-326 Multiple translations ¿ In class: Begin online Renga sessions – Continue until Feb. 24th, midnight F 2/15 Midterm Exam Take exam in the TMC sometime today – Bring blue book •• February 18th – 22nd • Washington Break •• Week Seven Poetry from the Medieval Period into the Edo M 2/25 From haikai renga to haikai Readings: “Haikai in the Journal,” Horton pp. 253-282 ¿ “Haikai Language, Haikai Spirit,” Shirane pp. 53-73 ¿ TJP pp. 331-344 W 2/27 Bashô Readings: “Merchant Japan” – TJAC pp. 137-147 “Poetry and Prose of Matsuo Bashô” Shirane pp. 178-206 ¿ TJP pp. 345-375 Excerpt from One Hundred Frogs, Satô pp. 147-175 ¿ F 2/29 Comic Verse Readings: “Comic and Satiric Poetry” Shirane pp. 520-537 ¿ TJP pp. 407-422 Multiple translations ¿ Assignment: Bashô’s frog poem Week Eight Jôruri / Bunraku – The Puppet Theater M 3/3 Edo Music and Theater Readings: “Music” and “Theater” – TJAC pp. 193-210 “Early jôruri and kabuki”. Shirane pp. 233-237 ¿ “Elements of Performance” TJT pp.303-313 W 3/5 Jôruri / Bunraku Readings: “Jôruri” – TJAC pp. 210-214 “Battles of Coxinga” TJT pp. 314-332 “At the Farmhouse” TJT pp. 376-392 “Miracle of the Tsubosaka Kannon” TJT pp. 408-417 View: Video Bunraku at TMC F 3/7 Chikamatsu and the Golden Age of Bunraku Readings: “Chikamatsu Monzaemon” Shirane pp. 237-242 ¿ “The Courier for Hell” Keene pp. 161-194 ¿ “Love Suicides at Amijima” TJT pp. 333-363 View: Video The Lover’s Exile at TMC Week Nine Kabuki – Theater for the Masses M 3/10 Kabuki Readings: “Kabuki” – TJAC pp. 214-224 “Sukeroku: Flower of Edo” Brandon pp. 51-97 ¿ View: Video Sukeroku edo no yukari zakura at TMC W 3/12 Kabuki (Adjusted Schedule: 1:10-1:55pm) Readings: “A Message of Love from Yamato” Brandon pp. 140-157 ¿ View: Video Koibikyaku Yamato ôrai – Fuinkiri at TMC F 3/14 Kabuki Readings: “Shunkan on Devil Island” TJT pp. 418-441 “Suma Bay” TJT pp. 442-455 Week Ten The late Edo period M 3/17 Later Kabuki Readings: “Yotsuya Ghost Stories” TJT pp. 456-483 “The Hamamatsu-ya Scene” TJT pp. 484-505 View: Video Shiranami Gonin Otoko at TMC W 3/19 Rakugo Readings: “Rakugo” Shirane pp. 961-968 ¿ “Birth and Growth of Modern Rakugo” Morioka pp. 232-252 ¿ “Basic Stage Conventions” Morioka pp. 32-40 ¿ “The Flamboyant Drum” Morioka pp. 10-20 ¿ “Praising a Child” Morioka pp. 61-68 ¿ View: Rakugo clips on Blackboard ¿ F 3/21 Later Edo poetry Readings: “Merchant Japan” – TJAC pp. 147-151 “Yosa Buson” Shirane pp. 538-547 ¿ “Kobayashi Issa” Shirane pp. 932-933, 939-941 ¿ “Waka in the Late Edo Period” Shirane pp. 947-960 ¿ TJP pp. 390-407, 416-437 Week Eleven Modern Japanese Poetry M 3/24 Traditional Poetry in Modern Japan Readings: “Poetry in Traditional Forms” Rimer pp. 305-314, 610-620 ¿ TJP pp. 439-456 W 3/26 Modern Japanese Poetry Readings: “Poetry in the International Style” Rimer pp. 293-304, 583-609 ¿ F 3/28 Class Cancelled Week Twelve Modern Japanese Theater M 3/31 Shingeki and Takarazuka Readings: The Two Daughters of Mr. Sawa Kishida pp. 109-147 ¿ “Theatrical Resistance… ” Robertson pp. 165-177 ¿ View: Takarazuka clips on Blackboard ¿ W 4/2 “Angura” and Butô Readings: The Virgin’s Mask Kara pp. 258-290 ¿ “Butoh” Stein pp. 107-126 ¿ View: Butô clips on Blackboard ¿ F 4/4 New interpretations of traditional theatrical forms Readings: The Lady Aoi Mishima pp. 145-171 ¿ Dôjôji Mishima pp. 119-138 ¿ “New Directions in Kabuki” Bach pp. 77-89 ¿ Mudskippers Salz pp. 253-269 ¿ View: Video Yamato Takeru at TMC Final Exam Period: April 5th – 11th Final exams are proctored through the German Department on the 2nd floor of Tucker, and should be taken in the TMC. Bring a blue book. http://blackboard.wlu.eduUta-awase%20assignment.htmlRenga%20assignment.htmlBasho%27s%20frog.htmlshapeimage_2_link_0shapeimage_2_link_1shapeimage_2_link_2shapeimage_2_link_3
Main Page Winter 2007 Click Here for a pdf Version of this Syllabus Click Here for the Japanese Literature Wiki