last updated: Sunday, January 19, 2020

Syllabus — Version 1

Japan 177 Urami: Rancor and Revenge in

Japanese Literature

("J177Sp20—Urami")

(Officially: "Japan 177 Urami: Rancor and Revenge in Japanese Literature")

Spring 2020

Instructor: John R Wallace

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1. Classroom spaces (physical and digital) 4 2. Course description 4 3. Prerequisites 5 4. Learning objectives 5 4.1. Knowledge to acquire 54.1.1. Knowledge likely to be gained that is not assessed for the course grade 6

4.2. Skills to develop 64.3. P / NP options 74.3.1. Planning what grade option to select for this class 7

4.3.2. Specific P/NP options for this course 7

5. Relative weights of the portfolio grade components 8 6. Descriptions of Final Course Letter Grades ("A," etc.) 9 6.1. Deciding final grades — Workflow 9

6.2. "Grade ceilings" (qualities of the student's involvement in the course that prevent any grade higher than a certain grade, regardless of overall scores): 9

6.3. Letter grade prose descriptions 10

7. Frequently used exercises, assignments, and assessments 11 7.1. Examples of how exercises, assignments, and assessments are used when determining portfolio component grades 117.2. Assignment titles 138. Assignments for this course 13 8.1. Attendance 138.1.2. Attendance used for the "engage" portfolio component (ATTEND-ENGAGE) 13

8.1.3. Attendance that is used from the "knowledge" & "skills" components of the portfolio (ATTEND-KS) 13

8.2. Exercises (EX) 148.3. Notecards (CARDS) — for the theories segment 148.4. Story Analysis – Premodern (SA-PREMODERN) — for the premodern segment148.5. Student-run-sessions 148.5.1. Selection of object to be shared (SRS-PROPOSAL) 14

8.5.2. Selection of object to be shared (SRS-SELECTION) 15

8.5.3. Access to object to be shared (SRS-ACCESS) 15

8.5.4. Introduction of object to be shared (SRS-INTRO) 15

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8.5.5. Story analysis by team members (SRS-SA-MEMBERS) 15

8.5.6. Story analysis by select non-team members (SRS-SA-NONMEMBERS) 15

8.5.7. Presentation Preparation (SRS-PRESENT-PREP) 15

8.5.8. Presentation (SRS-PRESENT) 16

8.5.9. Peer-evaluation of the presentation (SRS-PRESENT-EVAL) 16

8.6. Urami typology (TYPOL) 168.7. Essay (ESSAY) 168.8. Midterm on theories (MT) 168.9. Final exam (FINAL) — post-session 168.10. Extra credit (EC) opportunities 178.10.1. General Extra Credit (GenEC) 17

8.10.2. Major EC (MajorEC) 17

9. Schedule (initial version) 17 9.1. Dates of major assessment (graded events, like tests) 179.2. Day-to-day schedule (early draft) 1710. Course bibliography 19 11. Course materials access 21 12. Contacting me / meeting with me 21 13. Announcements and finding out what to do 21 14. "How do I know what to do for each class session?" 22 15. Things to remember that help your course grade 22

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1. Classroom spaces (physical and digital)

Our class meets TuTh, 9:40AM–11AM in 126 Wheeler.

Our digital classroom has three locations:

1. My public website, called "Sonic" (http://www.sonic.net/~tabine/) — Links to this course's session details page which states what to prepare, "Syllabus, Part 2," and essay writing requirements, etc.

2. bCourse — for announcements, materials, assignment submission, and grade reporting

3. course Google Drive folder(s) — for the backup schedule, collaborative and other work

2. Course description

This course has one midterm, one final, one formal essay, one "typography" chart, and one group presentation. It has some other graded events, however, and regular attendance is important.

The three components of the grade portfolio—engagement, knowledge, skills—are of equal value.

This course has a moderately light outside-of-the-classroom reading load but a consistent need to complete and submit assignments that are of moderate difficulty.

The midterm is March 5. The final is Wednesday 11:30AM-2:30PM of Finals Week.

This course introduces the Japanese concept of "urami"—a type of anger, vengefulness, rancor or resentment that is a common theme in Japanese literary, theatrical, and visual arts. We explore urami primarily via premodern short narratives (legends, tales, plays, ghost stories); however, we begin with a contemporary film and a contemporary novel. The last portion of the class is devoted to student-selected short works that are 21st-century Japanese works or works outside of Japan, for comparison purposes. Our analysis is grounded in theories of urami from four scholars: Hayao Kawai, Takeo Doi, Doris Bargen, and Noriko Reider. Kawai and Doi make entirely different arguments as to the nature and causes of urami, thus the class by default is also a comparative critique of Jungian vs. Freudian psychology and arguments for the universality of human nature vs. the argument that Japanese culture is in ways unique.

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3. Prerequisites None. All are welcome. No need for Japan knowledge of any sort.

4. Learning objectives All assignments that are graded, even when there are more specific grading rubrics, keep the below objectives in mind and the final grade is heavily influenced by an answer to such questions as "Did the student master (come to know well) ...?" or "Did the student learn X skill or, if already skilled at that skill made good effort to further improve it?" and so on.

Thus, now and then during the course the student should review the below objectives and measure progress against them. "Skills" objectives are often but not always "finish line" (by the end of the semester) assessments.

Good ENGAGEMENT goes a very long way towards supporting good "KNOWLEDGE" and "SKILLS" portfolio grades.

4.1. Knowledge to acquire By the end of the course, students will know ...

(of psychological theories)

... some of the details of Hayao Kawai's analysis of Japanese folklore and his view of the Japanese psyche and, in so doing, a few of the essential elements of Jungian psychology.

... Takeo Doi's theory of the Japanese psyche (omote/ura, tatemae/honne, amae and urami based on its denial, the role of secrets in mental health).

(of urami)

... a wide range of aspects of urami (as embedded within narratives—we do not analyze people, we analyze narrative):

• causes (including but not limited to betrayal, helplessness, social marginalization, shame),

• pace of development,

• center point(s) and boundaries (the inter-personal nature of urami),

• hidden & visible urami,

• processes (or not) of healing (including but not limited to forgiveness and revenge).

... some ways of viewing urami in broader, cross-cultural contexts.

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... how marginalization can be an element of urami.

(of Japanese literature)

... something (through explanation and exposure) about many premodern literary genres: poem-tales, tales, legends, Noh plays, ghost stories, short stories.

... Fumiko Enchi's novel Masks.

4.1.1. Knowledge likely to be gained that is not assessed for the course grade

• Various roles that girls and women play in premodern Japanese stories

• The complexity of emotional states of anger and their causes

• What makes one angry, what makes others angry, how prone one and others are to anger

• A better understanding of the ephemeral nature of borders between narrative and reader

4.2. Skills to develop These skills will be developed or improved:

• critical judgment in finding objects that others will find have value when encountered (community-oriented research)

• critical judgment related to arriving at credible, useful, and interesting analytic conclusions

• reading comprehension (identification of thesis, identification of major vs. minor points, identification of significance to the course topics, noting implications; in other words, "unflattening" content) of scholarly and literary works

• analysis via comparison (finding noteworthy similarities and differences across various urami stories, skill in finding noteworthy similarities and differences in manifestations of urami among premodern Japanese stories, modern Japanese stories, and non-Japanese stories)

• analysis via classification (arranging data to create significance)

• analysis that deploys scholarly theories

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4.3. P / NP options

4.3.1. Planning what grade option to select for this class

On the Sonic top page, there is an audio file with a general statement about taking my courses P / NP: About the P/NP (Passed/Not Passed) option (4:08). This can be helpful to you in managing the workload and grade for this class.

4.3.2. Specific P/NP options for this course

There are three major assignments that the P/NP student can drop: the final essay, the final exam, and the group work called SRS (student-run-sessions). The student can drop some or all of these. (However, not all combinations are permitted—in all cases the essay is dropped.) NOTE: depending on what has been dropped, the remaining course assignments have different bottomline grade levels that must be met in order to pass the course.

The student does not need to tell me which of the below options to use in calculating the P/NP grade. Whether or not an assignment is submitted will indicate that. The exception is SRS since there are multiple assignments involved. Once a student has failed to submit any individual assignment associated with SRS group work, the student will be removed from the group, previous SRS grades earned will be voided, and the student will be graded as if that student had always dropped the SRS work.

1) Student drops/does not submit in time the term essay (ESSAY) + student does not take the final exam, student drops SRS assignments (choses not to join a group that will select and present a reading selection fo the class)

The letter grade average when attendance (ATTEND-K&S), the midterm (MT), the story analyses (SA, after dropping the ONE lowest score), and the typography (TYPOG) are given equal weight must be equal to or higher than "B"

2) Student drops/does not submit in time the term essay (ESSAY) + student does not take the final exam, student joins SRS assignments (choses to join a group that will select and present a reading selection fo the class; however, the PEER assignments are optional)

The letter grade average when attendance (ATTEND-K&S), the midterm (MT), the story analyses (SA, after dropping the TWO lowest score), and the typography (TYPOG) are given equal weight must be equal to or higher than "B"

3) Student drops/does not submit in time the term essay (ESSAY) + student shows up and takes the final exam, student drops SRS assignments (choses not to join a group that will select and present a reading selection fo the class) Drops essay, takes final, drops with SRS

The letter grade average when attendance (ATTEND-K&S), the midterm (MT), the story analyses (SA, after dropping the ONE lowest score), and the typography (TYPOG) are given equal weight must be equal to or higher than "C+"

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4) Student drops/does not submit in time the term essay (ESSAY) + student shows up and takes the final exam, student joins SRS assignments (choses to join a group that will select and present a reading selection fo the class; however, the PEER assignments are optional)

The letter grade average when attendance (ATTEND-K&S), the midterm (MT), the story analyses (SA, after dropping the TWO lowest score), and the typography (TYPOG) are given equal weight must be equal to or higher than "C+"

*If there is a different way you would like to engage this class, we can discuss other options. Remember that the later in the semester this discussion happens, the more limited the options become. Also not that once we have agreed on an alternate plan, it is fixed and cannot be further changed.

5. Relative weights of the portfolio grade components The assessments of various activities in which the students will engage during the term are used at the end of the term in multiple ways to determine grades for these three areas:

course ENGAGEMENT

KNOWLEDGE gained

SKILLS learned

The relative weights for these three for this course (J177Sp20) is:

ENGAGEMENT—33.33% KNOWLEDGE—33.33% SKILLS—33.33%

The final course portfolio KNOWLEDGE and SKILLS grades are an assessment of the student's progress in terms of the learning objectives outlined in this syllabus.

The ENGAGEMENT portion is much more expansive that the typical "participation" grade. I look at various activities and behaviors to judge your intellectual curiosity and self-initiative in learning, knowing that much of the most important aspects of this class are learned away from the classroom or my field of observation. If the student has evidenced a basic drive towards learning, I assume (without any formal assessment) that the student has learned a good deal after class. When that is missing, I assume that the student has missed learning opportunities or moments. I look at attendance records, rate of assignment submission (with an understanding that it is normal for a student to miss one or two exercises or assignments), the quality of your participation and written submissions, peer evaluations, personal observation of you in class as well as the effort evidenced through your written submissions and test answers, conversations we might have had beyond the classroom. I understand that some students are more social than others but all students, if they wish, can find a way to convey their interest in course content and effort made towards the learning goals. Academic dishonesty of any sort is a very strong grade negative for this portfolio component.

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6. Descriptions of Final Course Letter Grades ("A," etc.) "Syllabus, Part 2" has the full description of how I calculate grades, percent tables, and so on. However, it seems appropriate to give an overview here of how I calculate final grades.

6.1. Deciding final grades — Workflow

At the end of the term, I calculate the three portfolio grades (engagement, knowledge, skills) using a variety of exercises, assignments, and assessments weighted in a way that I think best captures the student's engagement, success at mastering or understanding course material, and ability to carry out the skills targeted to be learned or improved.

Once I have a mathematical result, I check this against the below descriptions and adjust that score if it seems more accurate. In 90% of the results there is no adjustment of the portfolio component grades.

I then calculate the final course grade, take into account academic dishonesty, extra credit, special circumstances and, again, the below descriptions. If the grade outcome does not match what I intuitively feel is the correct grade from the student I go back and review some or all the data I have on the student. This rarely leads to a grade change but now and then something has been missed or a better match to intuition seems justified based on the evidence (not on a floating opinion). After this, I look through the list and determine if any student is best scored as "A+". Then I submit grades.

Once submitted, grades are final. Therefore, it is common that I let grades sit one day and review everything again with fresh eyes before I submit.

6.2. "Grade ceilings" (qualities of the student's involvement in the course that prevent any grade higher than a certain grade, regardless of overall scores):

Significant academic dishonesty: If the event has not caused a fail in the course away, it is unlikely the student can score higher than a "B-".

Moderate or minor academic dishonesty: "Upwards" rounding of grades that are difficult to determine no longer happens. General extra credit (GenEC), if any, is no longer calculated into the grade. It is unlikely the student can score higher than a "B+".

Significant number of unexcused late arrivals and/or early departures: "A-".

Multitasking during class: This creates a general skepticism that outside work is being done attentively and this might affect a number of judgment grades having to do with engagement and knowledge, having an overall depressive effect on a grade. Today's work. It is unlikely the student can score higher than an "A-".

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6.3. Letter grade prose descriptions

"A+" — Exemplary students, not based on points but rather on students' evident grasp of the deep principles and often also referencing their ability to raise the learning environment for others in the room through their preparation and participation. Still, students who don't connect well with others but have plunged into the course material and grasped it well are definitely candidates for "A+" as well. Consistent effort is obviously necessary. A few flashy accomplishments will not be enough. Top scores on the assessments is not enough.

"High-A" — This is a common grade on assignments and assessments but not an official University grade. "High-A" tells the student that they have performed with excellence but there was someone in the room that went even above and beyond what they accomplished. "High-A" scores are helpful in grade calculations because of their higher point value compared to "A". Anyway student with a final grade sheet course average of "High-A" will be considered as a possible "A+" candidate since it is quite difficult to end a semester with this high an average across all exercises, assignments, and assessments. The final course grade for submission to the university for a student with this overall average would be either "A" or "A+".

"A" — It seems likely that the student has an abundance of self-initiative, curiosity, and interest in discovery. Consistent participation is important. Not perfect but nearly perfect on-time attendance. Effort aimed towards understanding the material rather than the collection of points. Consistent effort is obviously necessary although when a pattern of excellence is established, a few misses along the way will not matter. If the student has such a profile, even if the numbers might indicate an "A-" it is likely the submitted score will be an "A". If the scores are lower than that, it is not unusual for me to take a close look at all the data and determine whether the letter grade can be bumped up one step.

"A-minus" — This grade is more common than "A" in my scheme. Something in the above is lacking or missing but overall the student meets the "A" profile.

"B" grade band — These students have performed well. Their approach to the class is good. Their level of learning is good. It is likely that if these two things are in place, weaker skills scores will not lower their letter grade. These student do most of the work, make reasonable effort, and seem engaged most of the time.

"C" grade band — Effort is the key indicator for this grade level. If the student has made consistent effort and conveyed (through a combination of words and actions) this to me through class presence or their out-of-class communications in the various forms available, they will likely be in the "B" grade band. "C" students seem to be in neutral much of the time. These students might do what is assigned but only that and are seeking ways of minimal engagement often enough that it is noticeable. (All students have times when they are overwhelmed with other class duties and are less involved in the course for brief periods of time.) These student sit towards the back so as to not be fully in the class. (That said, some in the back just like it there and are clearly engaged. It isn't hard to recognize them.)

"D" grade band — Course content has core, bottomline, material that needs to be mastered and much other content that should be learned to some degree. When core content seems clearly not to have been learned, a student is a candidate for this grade band. If the student seems entirely disengaged this, plus assessment results, can place a student here as well. I will not assess a student as a "D" student unless I have looked at all data collected and concluded that there is really no other fair grade.

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7. Frequently used exercises, assignments, and assessments 7.1. Examples of how exercises, assignments, and assessments are used when determining portfolio component grades The below is a generic description not tied to any specific class. NOTE THAT ANY EXERCISE, ASSIGNMENT, OR ASSESSMENT MIGHT BE USED IN FULL OR IN PART TO DETERMINE THE PORTFOLIO GRADE. For example, the score on the final exam might be used as part of the grade average for the "knowledge" portion of the final grade and might be used again for the "skills" portion of the final grade. Or, the grade average might be used on assignments to help determine the "knowledge" portion of the final grades while how many of the assignments were submitted might help determine the "engagement" portion of the final grade. Students should not target only tests or major tests as the key decider in the course grade.

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Activity or assessment (tag) Knowledge Skills Engagement

Record of on-time, attentive, attendance adjusted by Google Form data and personal observation

ATTEND (ENGAGE) key to this grade

Record of on-time, attentive, attendance unadjusted

ATTEND (KNOW & SKILLS)

very important to this grade

somewhat important to this grade

Exercises to practice content EX (important in developing

knowledge)(important in developing skills)

rate of on-time and in good form submissions key to this grade

Reading Checks or Viewing Checks to determine if assignment material was read before class

RC/VC(promotes good preparation), key to this grade

(promotes successful class sessions via preparation)

key to this grade

Quizzes (short assessments, not necessarily less important)

Q key to this grade

Tests that happen during the term MT key to this grade

Test that happens during finals week FINAL key to this grade

depending on the type of final, this is often key to this grade

Projects PROJECT key to this gradedepending on the type of project, this is often key to this grade

Essays ESSAY key to this grade time investment key to this grade

Peer evaluations PEER

can support this grade when the write appears well informed of the goals of the class or when those reviewed are described as well prepared or well informed

the effort you put in to making the peer review is key to the grade; what others say of you is taken into consideration

"General EC" GenEC

taken into consideration ONLY when the student has otherwise shown a normal level of engagement in the course

"Major EC" MajEC taken into consideration taken into consideration

taken into consideration when the submission is on-time and of sufficient quality

In-class observation (attentive, contributing, facilitating, interested) and observation of submitted materials content (not score)

key to this grade key to this grade key to this grade

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7.2. Assignment titles Since I develop assignments as the class develops, not in a fixed way ahead of time, I needed to develop a titling system. The method I use tells the us the type of assignment, the session day for which it is relevant, and where the assessment took place.

For example:

"EX191105 InC Active Learning"

means "an exercise (EX) done on November 5, 2019, in class, and which was about active learning." Put schematically:

type of exercise - date - location - descriptive tag

8. Assignments for this course

Below is my initial intention with regard to assignments for this course. This often changes as I come to understand the dynamics of a particular class, including learnings interests, learning needs, and engagement levels, and interpersonal relationships. Be ready to adjust as necessary.

8.1. Attendance I calculate the attendance grade in two different ways, one to be used for the engagement portion of the portfolio grade, the other to be used for the knowledge portion of the portfolio grade. The rationale is that, in the case of "knowledge" of you are not there you are not there, regardless of the reason, and you have missed the content of the class in that dialogue cannot be substituted for in any way. On the other hand "engagement" is measured after I have calculated in missed classes, late arrival, etc, and the reasons for them. The rationale here is that a missed class may or may not be indicative of the level of your engagement in the course.

8.1.2. Attendance used for the "engage" portfolio component (ATTEND-ENGAGE)

This is the attendance record adjusted according to the "missed classes" google form. I use no other data source, including personal memory or emails.

8.1.3. Attendance that is used from the "knowledge" & "skills" components of the portfolio (ATTEND-KS)

This is the attendance record's raw data, not adjusted for anything. It is purely mathematical:

• one point for on-time, attentive presence for the full session

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• half-point for late arrival, early departure, inattentive presence

• one-quarter point for any session when I notice multitasking or any sort with devices, notebooks, books, or paper

8.2. Exercises (EX) Exercises will be frequent. They are used to review knowledge, develop knowledge through discussion, and learn or practice skills that will later be assessed. Exercises are low risk assignments. They are graded, but the grade is usually a feedback grade. However, whether they are complete or not, (in time and in good form) is indeed part of the engagement grade. All assignments should be done with care. Missed assignments due to absences or not submitted before the deadline cannot be made up.

8.3. Notecards (CARDS) — for the theories segment This is an ungraded assignment, although the submission rate is used for grade calculations.

During the segment of the class that covers Kawai and Doi, you will be asked to submit notecards at the beginning of the session for which the assignment will be discussed. I will keep these cards for you to use during the midterm which is otherwise a closed-book exam.

8.4. Story Analysis – Premodern (SA-PREMODERN) — for the premodern segment This is an individual grade. The one lowest score will be dropped from the calculations. Submissions later in the term will have greater grade weight than earlier ones under the assumption that students improve their skills as the semester progresses.

This is a core assignment for the course. You will complete a template for the stories that checks your understanding of the stories, their relevance to the course topics, and compares them with one another. The overall grading rubric is energy and care in completion (ENGAGE), identification of key elements (SKILL-reading comprehension), and generating credible, insightful analysis when comparing stories (analytic SKILL).

8.5. Student-run-sessions Groups of students will be responsible for providing one of the reading assignments, and the discussion of it. A number of assignments are involved: selection of content, providing access to it, writing a simple introduction, and an in-class presentation during a 35-minutes segment of a session. For that presentation they will have written their own analysis, have received analysis from other students, and met to work out a consensus on how to present the story. This presentation will be peer-graded.

8.5.1. Selection of object to be shared (SRS-PROPOSAL)

This is an individual grade.

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Each group member offers a possible object, describes it, and explains why it was proposed as the team object.

8.5.2. Selection of object to be shared (SRS-SELECTION)

This is a group grade.

A member of the team reports what was selected and why. This person cannot be the person who initially proposed the object.

8.5.3. Access to object to be shared (SRS-ACCESS)

This is a group grade.

The team provides low-friction, legal access to the object for everyone.

8.5.4. Introduction of object to be shared (SRS-INTRO)

This is a group grade.

The team provides a half-page introduction of the object that does NOT include any interpretations with regard to urami.

8.5.5. Story analysis by team members (SRS-SA-MEMBERS)

This is an individual grade.

Each team member submits the template designed for story analysis for the student-selected objects.

8.5.6. Story analysis by select non-team members (SRS-SA-NONMEMBERS)

This is an individual grade, and limited to a handful of students. (Everyone does at least one of these for the student-selected objects but no one does this assignment for all of the student selections.)

The students to whom this assignment has been given submit the template designed for story analysis for the student-selected objects.

8.5.7. Presentation Preparation (SRS-PRESENT-PREP)

This is a group grade.

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The team meets and works out the differences among interpretations and decides how to present the story.

8.5.8. Presentation (SRS-PRESENT)

These are individual grades determined by me. I might record the presentation to help with grading.

This is the in-class presentation. All members must play a role in the presentation. This presentation is "panel" style, with no visual projects. Handouts are welcome. The team presents their thinking on the topics of the template, after consideration of all submissions.

8.5.9. Peer-evaluation of the presentation (SRS-PRESENT-EVAL)

This is a letter grade given to the students determined by the students who have watched the presentation. Reasoning will be included and that portion will be evaluated by me to give a letter grade to the submitted evaluation itself. In other words, the students grade the presenters and I grade the students on their reasoning for those grades.

8.6. Urami typology (TYPOL) This is an individual grade.

At the end of the term students submit a compact, one-page typography of urami based on the premodern stories.

8.7. Essay (ESSAY) This is an individual grade.

At the end of the term, students submit a formal essay of around 1600 words. However the length and content are not decided at the time of writing this syllabus. I have in mind three possible directions but it depends on how the class progresses. It is very likely that this essay will then be part of the final exam, where you must answer questions about it.

8.8. Midterm on theories (MT) This is an individual grade.

An in-class, no devices, closed book midterm on the Kawai and Doi readings that will assess your mastery of that content and ask you to apply it to a story. You will be given the notecards you made earlier.

8.9. Final exam (FINAL) — post-session This is an individual grade.

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There is a final exam that will assess knowledge and skills.

8.10. Extra credit (EC) opportunities

8.10.1. General Extra Credit (GenEC)

See "Syllabus, Part 2" for details but note that this type of extra credit only becomes relevant when the student has been engaged energetically with the course throughout the term. It does repair low grades on regular assessments.

8.10.2. Major EC (MajorEC)

Currently there are no major EC opportunities for this course. However, I am open to the ideas such as these for an additional formal essay that is well-researched (not just an opinion piece): Urami in Japanese literature vs. Han in Korean literature, Urami in Miyazaki's films, Is there urami in Shinkai's films?

9. Schedule (initial version) 9.1. Dates of major assessment (graded events, like tests) • March 5 — MT on elements of short narratives

• date not yet determined / differs per student — you will have a half-session sometime April 14 that your group runs to present your urami story

• May 15 (Wednesday of Finals Weeks), 11:30AM-2:30PM — FINAL

9.2. Day-to-day schedule (early draft) Session Details will be the official schedule. When it is not updated, the "backup schedule" in our Google Folder will be the official schedule. This schedule only gives a good sense of how the course will flow.

First por)on of session Second por)on of session

Week 1 1

Tuesday, January 21, 2020

Orientation same

2Thursday, January 23, 2020

Confessions (Kokuhaku 告白; film,

20th c.), screeningsame

Week 2 3

Tuesday, January 28, 2020

Confessions (Kokuhaku 告白; film, 20th c.), screening

same

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4Thursday, January 30, 2020

Confessions (Kokuhaku 告白; film,

20th c.), discussion based on Story Analysis (SA) elements

Uemura Shoen paintings

Week 3 5

Tuesday, February 4, 2020

Masks, Part One (Onnamen 女面; novel, 20th c.) support material

Masks, Part One (Onnamen 女面; novel, 20th c.) discussion

6Thursday, February 6, 2020

Masks, Part Two (Onnamen 女面; novel, 20th c.) support material

Masks, Part Two (Onnamen 女面; novel, 20th c.) discussion

Week 4 7

Tuesday, February 11, 2020

Masks, Part Three (Onnamen 女面;

novel, 20th c.) support material

Masks, Part Three (Onnamen 女面; novel,

20th c.) discussion

8Thursday, February 13, 2020

Intro to Jungian Psychology + Kawai's Jungian women: Chpt 1 "The 'Forbidden Chamber' motif" + "Bush Warbler' Home" (legend)

Kawai's Jungian women: Chpt 2 "The Woman Who Eats Nothing" + "Woman Who Eats Nothing" (legend)

Week 5 9

Tuesday, February 18, 2020

Kawai's Jungian women: Chpt 3 "The Laughter of Oni" + "Laughter of Oni" (legend)

Kawai's Jungian women: Chpt 4 "Death of a Sister (includes legend 'White Bird Sister')" + Chpt 9 "Women of Will" + "Charcoal Maker Chojya" (legend)

10Thursday, February 20, 2020

Doi's amae/urami: Anatomy of Self, Preface + Chapt 1 "Omote and Ura"

Doi's amae/urami: Anatomy of Self, Chapt 2 "Tatemae and honne"

Week 6 11

Tuesday, February 25, 2020

Doi's amae/urami: Anatomy of Self, Chapt 5 "Humans Being Stripped Naked" (partial) + Chapt 7 "The Mind and Secrets"

Doi's amae/urami: Anatomy of Self, Chapt 8 "Secret and Charm"

12Thursday, February 27, 2020

Doi's amae/urami: Anatomy of Self, Chapt 9 "Secrets and Love" Doi discussion

Week 7 13

Tuesday, March 3, 2020

Kuno's "Structure of Urami" Kawai and Doi review

14Thursday, March 5, 2020

MT02 Midterm on concepts same

Week 8 15

Tuesday, March 10, 2020

RC + Bargen's "Spirit Possession" + Tale of Genji (practice run) Visual representations

16Thursday, March 12, 2020

RC + Reider on oni: "Japanese Demon Lore" Visual representations

Week 9 17

Tuesday, March 17, 2020

Tales of Ise (poem-prose narrative, 10th c.) Kagerō Diary (memoir, 10th c.)

18Thursday, March 19, 2020

Tales of Times Now Past (legends, 12th c.?) The Iron Crown (Noh drama, 15th c.)

SPRING BREAK Tuesday, March 24, 2020

SPRING BREAK Thursday, March 26, 2020

Week 10 19

Tuesday, March 31, 2020

The Fulling Block (Noh drama, 15th c.) The Damask Drum (Noh drama, 15th c.?)

20 Thursday, April 2, 2020

Akimichi (Otogizoshi / short stories, 16th c.)

Great Mirror of Male Love (erotic short stories, 17th c.)

Week 11 21 Tuesday,

April 7, 2020Bancho Sarashiki (ghost story, 18th c.) Kasane (ghost story, 18th c.)

22 Thursday, April 9, 2020

Tales of Moonlight and Rain "Shiramine" (ghost stlory, 18th c.)

Furisode (ghost story, 19th c.) and https://en.wikipedia.org/wiki/Great_fire_of_Meireki

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10. Course bibliography ACADEMIC ARTICLES, PASSAGES FROM OTHER SCHOLARLY WORKS,

Doris G. Bargen, "Spirit Possession in The Context of Dramatic Expressions of Gender Conflict: The Aoi Episode of The Genji monogatari" Harvard Journal of Asiatic Studies (1988), https://www-jstor-org.libproxy.berkeley.edu/stable/2719274

Hayao Kawai, The Japanese Psyche: Major Motifs in the Fairy Tales of Japan, trans. by Hayao Kawai and Sachiko Reece (Spring Publications: Dallas, Texas, 1988)

Takeo Doi, The Anatomy of Self: The Individual Versus Society, trans. by Mark A. Harbison (Kodansha, Texas, 1985)

Akira Kuno, "The Structure of Urami" Japan Review (1991), https://www-jstor-org.libproxy.berkeley.edu/stable/25790899

Noriko T. Reider, Japanese demon lore: oni, from ancient times to the present (Utah State UP, 2010).

ONLINE RESOURCES

Jungian psychology — overview:

Week 12 23

Tuesday, April 14, 2020

Tales of Moonlight and Rain "Kibitsu Cauldron" (ghost story, 18th c.) Snow Woman (ghost story, 19th c.)

24Thursday, April 16, 2020

Student-Run Sessions (SRS): Readings selected by students

Student-Run Sessions (SRS): Readings selected by students

Week 13 25

Tuesday, April 21, 2020

Student-Run Sessions (SRS): Readings selected by students

Student-Run Sessions (SRS): Readings selected by students

26Thursday, April 23, 2020

Student-Run Sessions (SRS): Readings selected by students

Student-Run Sessions (SRS): Readings selected by students

Week 14 27

Tuesday, April 28, 2020

Student-Run Sessions (SRS): Readings selected by students

Student-Run Sessions (SRS): Readings selected by students

28Thursday, April 30, 2020

Student-Run Sessions (SRS): Readings selected by students

Student-Run Sessions (SRS): Readings selected by students

RRR Tuesday, May 5, 2020

Consulta)ons same

Thursday, May 7, 2020

Consulta)ons same

Exam week

Monday, May 11, 2020

Essay due

Wednesday, May 13, 2020 11:30AM-2:30PM

Final Exam

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https://www.thesap.org.uk/resources/articles-on-jungian-psychology-2/about-analysis-and-therapy/analytical-psychology/

About Jungian archetypes:

https://en.wikipedia.org/wiki/Jungian_archetypes

Jungian psychology - anima/animus:

https://en.wikipedia.org/wiki/Analytical_psychology#Anima_and_animus

About the "great mother":

https://jenniferlinton.com/2012/05/14/the-great-mother-vs-the-terrible-mother-the-dual-nature-of-the-jungian-archetype/

https://www.capt.org/using-type/c-g-jung.htm?bhcp=1

Erich Neumann's The Great Mother (for reference):

https://muse-jhu-edu.libproxy.berkeley.edu/book/46458

Jung's view of myths:

https://en.wikiversity.org/wiki/Classical_Mythology/Jungian_psychology

LITERARY TEXTS (listed approximately by date of composition)

Selections from Tales of Ise (Ise monogatari 伊勢物語; poem tales, 10th c.)

Passage from Gossamer Years (Kagerō nikki 蜻蛉日記, diary, 10th c.)

Passage from The Tale of Genji (Genji monogatari 源氏物語; prose narrative, 11th c.)

Selections from Tales of Times Now Past (Konjaku monogatari 今昔物語: legends, 12th c.?)

Noh drama:

• "The Damask Drum" (Aya no tsuzumi 綾鼓; Noh drama, 15th c. ?)

• "The Fulling Block" (Kinuta 砧; Noh drama, 15th c.) ACCESS: Eileen Kato and Kanze Motokiyo Zeami "The Fulling Block)

• "The Iron Crown" (Kanawa 鉄輪; Noh drama, 15th c. or later)

"Akimichi" (Otogizoshi 御伽草子 / short stories, 16th c.)

Selections from Great Mirror of Male Love (Nanshoku Okagami 男色大鏡) by Ihara Saikaku (1642-93)

Selections from Tales of Moonlight and Rain (Ugestu monogatari 雨月物語) by Ueda Akinari (1734-1809)

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"Kasane" (Kasane ga fuchi 累ヶ淵; ghost story, 18th c.)

"Bancho Sarashiki" (番町皿屋敷 ; ghost story, 18th c.)

"Furisode" (Furisode no kaji 振袖の火事; ghost story, 19th c.)

"Snow Woman" (Yuki onna 雪女, ghost story, 19th c.)

Enchi Fumiko, Masks (Onnamen 女面; novel, 20th c.)

OTHER

Uemura Shōen (上村松園; painter, 20th c.) 

"Dojoji" (道成寺 stop-action animation based on premodern Noh play, 20th c.)

"Confessions" (Kokuhaku 告白; film, 20th c.)

11. Course materials access *Due to copyright concerns, when possible I have locked PDFs with a password: J177Sp20

All material for this class—except Fumiko Enchi's Masks—is in digital form and is either on bCourse, within a class Google Drive folder or available as a link. A portion of the material will be selected and made accessible by students.

12. Contacting me / meeting with me My office is 5110 Dwinelle Hall.

My email is jwallace@berkeley.edu. Please do not message me either using my private account, or the appointment software, or via bCourse. Please use email.

My office hours, any last-minute changes to them, and how to request a meeting are listed at Sonic. Please don't rely on the department's webpage listing.

13. Announcements and finding out what to do Information about class activity (what to do, assignment instructions, due dates, grading explanations, test information, etc.) will come to you through four channels:

1. in-class announcements,

2. bCourse announcements (arrives to you as an email notice and remains accessible on the bCourse site),

3. postings to Session Details page (must remember to manually visit Sonic), and

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4. bCourse assignment pages (creation notices and grade releases arrive to you as an email notice and remains accessible on the bCourse site, due date can appear on your calendar if you coordinate it with bCourse and remains on the bCourse site as "syllabus" and "calendar").

Because, as an active learning classroom, we are already very busy with activities, and because I think all of you are good readers, I rarely make announcements in class. It is unwise to assume that in-class announcements are sufficient for navigating the course and meeting deadlines.

14. "How do I know what to do for each class session?" The information is on the course Sonic Session Details page: http://www.sonic.net/~tabine/ .

15. Things to remember that help your course grade "Syllabus, Part 2" provides extensive information on what is helpful and not helpful in terms of your course grade.

On a regular basis, you should review "Syllabus key points for scoring well."

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