The tumultuous political and economic history of modern China has been mirrored in and shaped by equally fundamental revolutions in language and poetic expression. In this course, we will take Chinese poetry as a crucible in which we can observe the interacting forces of literary history and social change. From diplomats who saw poetry as a medium for cultural translation between China and the world, to revolutionaries who enlisted poetry in the project of social transformation, we will examine the lives and works of some of China’s most prominent poets and ask, what can we learn about modern China from reading their poetry? In asking this question, we will also reckon with the strengths and limitations of using poetry as an historical source. In addition to poems, the course will include fiction, essays, photographs, and films by both Chinese and non-Chinese artists that place our poets in a broader context. We will pay close attention to how these poets represent China’s place in the world, as well as the role of language in social change. Topics of discussion include: national identity, revolution, translation, gender, the body, ethnicity, and technology.
Familiarity with Chinese or related cultural context is beneficial, but not required.
This course introduces students to Chinese poetry in English translation. Students will leave the course with an in-depth understanding of the main figures, themes, and techniques of Chinese poetry, and will be introduced to some of the major developments in the history of China. Through a focus on primary texts, students will develop the vocabulary and analytical skills to appreciate and analyze poetry in translation and will gain confidence as writers thinking about literary texts.

This class is an opportunity to work closely with the Chinese sculpture, paintings, bronzes and other works of art in the collection of the Penn Museum. Some of the objects are well-known and on permanent display. Others have hardly been researched since they were acquired, and rarely leave storage. The class will meet in small groups at the museum. Students will work on research papers and collaborative in-class presentations on objects of their choice. A variety of approaches will be encouraged and students may choose to focus on iconography, historical and religious context, materials and manufacturing techniques, collectors and patronage, or inscriptions. There are no prerequisites for this course.

Home to vibrant economies and societies, East Asia is undergoing profound environmental transformations. These developments, crucial for understanding the crises of our time, have deep roots in the past. This seminar course investigates key topics in East Asian environmental history over the last three millennia as we think about the region’s role in the global ecological future.
Focusing on China, Korea, and Japan, we will explore not only how East Asian societies shaped and were shaped by the natural world they inhabited, but also how an environmental perspective helps us view issues such as economic development, ethnicity, state-building, urbanization, and colonialism in a new light. In examining narratives of ecological change in East Asia, we will gain a deeper understanding of the region and the role of the environment in history and historiography.

In 2019, Bong Joon-ho's Parasite won the Palme d'Or at the 72nd Cannes Film Festival. This event marked the apex of South Korean cinematic renaissance, having steadily become a tour de force in the international film festival scene since 1997 onwards. This course explores the major auteurs, styles, themes, and currents of the so-called "New Korean Cinema" that emerged in the mid-to-late 1990s to continue to this day. Drawing from texts on critical film and Korean studies, we will pay particular attention to how the selected works re-present, resist, and interweave the sociopolitical climate they concern and are born out of. Using cinema as a lens with which to see the society, we will touch upon major events of the twentieth century including national division, military dictatorship and democratization movements, IMF economic crisis, youth culture, hallyu (the Korean wave), and damunhwa (multiculturalism initiative). In so doing, we will closely examine how each cinematic medium addresses the societal power structure and the role of the "Other" it represents in terms of class, race, gender, and sexuality in the construction of contemporary Korean society. We will also briefly survey the history of South Korean cinema that has evolved hand-in-hand with the history of modern Korea itself, walking through its five different phases (1945-Korean War era;1955-1972 "Golden Age"; 1973-1979 censorship era; 1980-1996 democratization era; and 1997 onwards). No prior experience of Korean studies courses necessary; all films will be screened with English subtitles.

This course is an introduction to and exploration of modern East Asian literatures and cultures through close readings and discussion of selected literary works from the early 20th century to the start of the 21st century. Focusing on China, Japan, and Korea, we will explore the shared and interconnected experiences of modernity in East Asia as well as broaden our perspective by considering the location of East Asian cultural production within a global modernity. Major issues we will encounter include: nation-building and the modern novel; cultural translation; media and technology; representations of gender, race, and class; history and memory; colonialism; war; body and sexuality; globalization. No knowledge of the original language is required.

Study of tombs and tomb decoration of emperors and officials in China, Korea, and Japan from the pre-Buddhist era through the 19th century.

In 1800, Beijing ruled the world's biggest, wealthiest, and most powerful empire. The Emperor, ruler of China's Qing dynasty, was a sage monarch, a Confucian scholar, even a Bodhisattva on the throne, but his not too distant ancestors had been hunters, ginseng smugglers, and soldiers of fortune in the forests of Manchuria speaking Manchu-a language closer to Mongolian and Turkish than to Chinese. This course will explore how the military organization of these dissident chiefs in the forest came to command all the resources of Chinese statecraft, scholarship, and economy and how by yoking these Chinese management skills to the Manchu "frontier style" built arguably the most successful empire in Asian history.

This course will explore fiction and film in contemporary Japan, from 1945 to the present. Topics will include literary and cinematic representation of Japan s war experience and post-war reconstruction, negotiation with Japanese classics, confrontation with the state, and changing ideas of gender and sexuality. We will explore these and other questions by analyzing texts of various genres, including film and film scripts, novels, short stories, manga, and academic essays. Class sessions will combine lectures, discussion, audio-visual materials, and creative as well as analytical writing exercises. The course is taught in English, although Japanese materials will be made available upon request. No prior coursework in Japanese literature, culture, or film is required or expected; additional secondary materials will be available for students taking the course at the 600 level. Writers and film directors examined may include: Kawabata Yasunari, Hayashi Fumiko, Abe Kobo, Mishima Yukio, Oe Kenzaburo, Yoshimoto Banana, Ozu Yasujiro, Naruse Mikio, Kurosawa Akira, Imamura Shohei, Koreeda Hirokazu, and Beat Takeshi.

The goal of this course is understanding the development of visual, performing, and literary arts in Korea and the historical, religious, and social contexts in which they flourished. It serves as an introduction to the arts of Korea, with emphasis on painting, sculpture, ceramics, and architecture and additional consideration of dance, drama, poetry, and culinary arts. Covers the whole history of Korea, from prehistoric times to the twenty-first century. Students enrolled in this graduate number are expected to do research in an East Asian language.

"Why was the Great Wall of China built? What made the two people of China and Mongolia so hostile that a vast wall had to be built to separate them? Is this wall a symbol of Chinas might and glory, or a symbol of tyranny like the Berli n wall? Did the wall actually keep out the barbarians? Can it really be seen from the moon? For almost 2,000 year how to handle the nomads of Mongolia was the most important foreign policy question for Chinas rulers. At several differ ent times and several different places from the third century BC to the twentieth century AD, they used walls to defend themselves from the nomads. The wall thus came to symbolize the social, economic, military, political, and cultural clash between China and Mongolia. Across this frontier, nomads and Chinese fought, but also traded, exchanged diplomatic missions, and made peace. In understanding this conflict, students will explore fundamental issues of international relations: is conflict between different societies and cultures inevitable? Does greed always cause war or can economic interests be harnessed to make peace profitable? How much does domestic politics and ideology tie the hands of policy-makers confronting foreign threats? Can smaller powers make peace with larger neighbors without losing their independence and identity? "