Michiyoshi Satō, February 9, 5:00 PM-6:30 PM in CEAS 319 (1155 E 60th St.)
Please join us Tuesday, February 9 from 5:00 PM-6:30 PM for a conversation with Michiyoshi Satō, a contemporary Tsugaru-jamisen performer. This event follows Satō’s performance on the previous day, which will be held at Bond Chapel at 6:00 p.m. Catering will be provided at the workshop.
Annotated lyrics in Japanese and English are available via this link. Please do not circulate or cite the lyrics without the permission of Michiyoshi Sato and Joshua Soloman. If you have not received the password for the post, or if you have concerns about accessibility for this meeting, please do not hesitate to email David Krolikoski at davidkroli at uchicago.edu or Brian White at bmwhite at uchicago.edu.
Friday, January 29, 4:30-6:30 PM in CWAC 153 (5550 S. Greenwood Ave.)
*PLEASE NOTE THE TIME AND LOCATION OF THIS TALK*
Miriam Wattles, “Defining Manga Anew in 1928: Ippei, a Book, and History”
Please join us this Friday, January 29, as we welcome Miriam Wattles (Associate Professor, History of Art and Architecture, UCSB). A description of Professor Wattles’s talk follows. No paper will be pre-circulated.
It wasn’t until the explosion of mass media in the 1920s that the word “manga” began to be used for comics and cartoons in Japan. Reformulations of the past were integral to the redefinition of the word. Okamoto Ippei (1886-1948), hugely popular with the public and head of a newly formed manga circle, wove a new historical sensibility into his prescriptions for the future of manga in his book Shin manga no kakikata (How To Make New Manga, 1928). The larger genus he employed was “minshūga,” or “pictures of the people.” In proposing this term at this particular historical moment, Ippei was responding to deep underlying tensions between elite and popular culture, individualism and collectivism, and nationalism and cosmopolitanism. This talk counters present amnesia around Ippei and his definition of manga and gives a surprising history of public ownership of one particular copy of Shin manga no kakikata.
This talk is supported by the Visual and Material Perspectives in East Asia Workshop, the Center for East Asian Studies, and Professor Chelsea Foxwell.
Catering will be provided after the talk.
If you have concerns about accessibility for this meeting, please do not hesitate to contact David Krolikoski at davidkroli at uchicago.edu, Brian White at bmwhite at uchicago.edu, or Xi Zhang at xizh at uchicago.edu.
Friday, December 4, 3:00-5:00PM in CEAS 319 (1155 E 60th St)
William Caroll, “Suzuki Seijun and the Redemption of Cinephilia”
On Friday, December 4, please join us in welcoming William Caroll, who will present a work-in-progress version of his dissertation proposal. As William explains, “The goal of my dissertation is to look at the relationship between the late Nikkatsu films of Suzuki Seijun and the writings of this group of cinephiles who emerged in the late 1960s and would later to go on to dominate both critical and academic discussions of film in Japan in the 1970s and 1980s. I will be arguing that Seijun’s films are foundational to understanding the cinephiles’ theory of cinema, and that their writings have in turn shaped our understanding of Seijun as a filmmaker.”
A draft of William’s paper is available at this link. If you have not received the password for the post, or if you have concerns about accessibility, please feel free to contact David Krolikoski at davidkroli at uchicago.edu or Brian White at bmwhite at uchicago.edu.
Friday, October 30, 3:00-5:00PM in CEAS 319 (1155 E 60th St)
Carly Buxton, “Performing Japaneseness: American Nisei Moving and Thinking as Imperial Subjects in Wartime Japan”
On Friday, October 30, please join us in welcoming Carly Buxton, who will present a work-in-progress version of her dissertation chapter. As Carly explains, “In this chapter, I examine the ways in which the physical environment and social discourse surrounding American Nisei (second generation Japanese) in wartime Japan stimulated Nisei to stifle their American traits and perform the roles expected of Japanese citizens. Nisei were fused into the imperial populace via the same channels of the physical body through which they were severed from the American populace; their speech, thought, physical appearance, and bodily movement were not only directed away from the concept of America, but were redirected toward the Japanese imperial cause. To demonstrate this process in the lives of Nisei in wartime Japan, I begin with a broad historical sketch of assimilation policies adopted by the imperialist Japanese administration, and I consider the place of Nisei as subjects of Japan’s imperial dominion. I then examine elements of the physical environment in wartime Japan designed to unite the populace through public mediation of individual emotions such as anxiety, fear, and grief. I conclude by considering the body in motion—Nisei performing work for the imperial cause as soldiers, students, volunteers, and government employees.”
A draft of Carly’s paper is available at this link. If you have not received the password for the post, or if you have concerns about accessibility, please feel free to contact David Krolikoski at davidkroli at uchicago.edu or Brian White at bmwhite at uchicago.edu.
Friday, October 16, 3:00-5:00PM in CEAS 319 (1155 E 60th St)
Joshua Solomon, “Mass Twang/Folk Twang: A New Historiography of the Aesthetics of Tsugaru-jamisen”
On Friday, October 16, please join us in welcoming Joshua Solomon, who will present a work-in-progress version of a dissertation chapter. As Joshua explains, “This chapter offers a new historiography of Tsugaru folk music, with an emphasis on technological appropriations and the critical role of production. Through a detailed close up of the musician Takahashi Chikuzan’s musical and cultural discourse, I argue that the historical trends of capitalization and massification of Tsugaru folk music, and Tsugaru-jamisen in particular, reflect a fundamental shift in away from a “folk epistemology.” I do not suggest a narrative of irretrievable loss; on the contrary, I suggest that the sujimichi [principle] of a non-modern Tsugaru aesthetic economy is inherited in much contemporary shamisen performance, although in sometimes significantly muted forms. Based on these observations, I suggest a wider critique of the ways in which we modernized and massified scholars might prepare ourselves to approach non-modern/ folk musics in the future.”
A draft of Joshua’s paper is available at this link. If you have not received the password for the post, or if you have concerns about accessibility, please feel free to contact David Krolikoski at davidkroli at uchicago.edu or Brian White at bmwhite at uchicago.edu.