Former Introduction

I'm an assistant professor in the Department of East Asian Languages and Literatures at The George Washington University. I teach Modern and Classical Japanese Language, as well as Classical Japanese Literature.
My current duties as an instructor focus on enhancing the reading abilities of advanced students. This includes reading contemporary fiction that is relatively easy to comprehend: 村上春樹 Murakami Haruki, 星新一 Hoshi Shin'ichi, etc. I also encourage students to learn bungo, or classical Japanese; besides reading the Classics such as 伊勢物語 Ise
monogatari or 方丈記 Hojoki in the original, bungo is a must for those who want to conduct research in Japanese history, political science or economics using pre-World War II sources.
My research interests focus on the influence of texts and contexts on reading, particularly as they pertain to late Heian and early medieval Japanese court poetry.

Once upon a time at UCLA: Clockwise from back left, Hillary, Terry, Stephanie, Alan, Weiyon, Masaya, Roger Ebert, Kim, Yuka, Tsukasa, Yan, Yasuko, Ken and unidentified. (I can't remember her name. Can someone remind me?)

Brief Bio:

Born in Los Angeles, CA. Graduate of Loyola High School, East Los Angeles Community College (AA), UCLA (BA and MA), and Stanford University (PhD). First learned how to speak Japanese effectively at age 17 at Mikawaya, a Japanese confectionary in Little Tokyo, Los Angeles. Learned to read and write Japanese during college. Research interests include Late Heian poetics, renga linked poetry, and Japanese film and pop culture. See curriculum vitae for more detail.

More unnecessary information

There really isn't much more to know about me. But if you're interested in detail, take a look at my Curriculum Vitae, although there really isn't much to it. I also have a family homepage that I try to keep up. You can also email me at my school address, but know that you do so at your own risk; I am notoriously bad at answering my mail, as my students will gleefully attest.
Updated 2008.12.07

Contact

Retired and living in Japan. You may contact me through the following methods:

• E-mail: hanami.sensei{at}gmail.com
• facebook
• twitter

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Updated 2021.1.12 iLhAnaMi

JAPN 112 Japanese Literature in Translation (2008)

PURPOSE The course is a survey of modern Japanese literature discovered through assigned readings and films. It aims to encourage diversity in thought, flexibility in opinion, and an understanding of the role of texts in forming ideas as represented through Japanese literature.

REQUIREMENTS Every student must be registered in JAPN 112. There is no prerequisite for the course. Every student will be expected to have completed the assigned readings by the day assigned. In general, each class will involve a lecture—which may include the background, historical context, and possible interpretations of the assigned readings—and group/class discussion in which students will be required to participate. Every student must submit all required work listed below. The student who cannot attend class due to emergency or illness is still responsible for any work due for the class missed. There is no make-up exam. All readings are in English.

INDIVIDUAL ASSIGNMENTS Success in the course is contingent on the students' performance in all assignments and exams. Assignments will also be posted on Blackboard. You will be required (tentatively) to do the following:

• Class participation and assignments—All students are expected to have read the material for class; level and accuracy of participation in any discussion will be noted and evaluated. Impromptu homework and in-class assignments—such as haiku poems and group work—will be graded as well; in-class assignments cannot be made-up. Absences will be graded as non-participation. (10%)
• Quizzes—There will be 11 weekly quizzes. They will consist of multiple choice, fill-in and short answers. The quiz will be online through Blackboard Tuesdays for a 24 hour period from midnight to midnight. Be sure to take it. See below for makeup policy. (20%)
• Essays (@ 1000 words)—There will be two essays, critical responses to specific questions. An essay should be viewed as a mini-paper consisting of an introduction, a body--grounds for and support of your position--and a conclusion. Reference to other sources to support your position affords a convincing argument. (30%)
• Late-term exam—There will be one midterm late in the semester—Wednesday of the 12th week. It will consist of questions similar to those on the weekly quizzes, as well, IDs and a short essay. (20%)
• Final Exam—Final exam will be take home exam that will include Identifications and an essay. The exam will be available on Blackboard 48 hours prior to the date and time of the scheduled exam. (20%)
• Graduate students taking the course for graduate credit will also be required to submit a research paper. See instructor for further detail.
• Formatting should be consistent with college-level work. See Grading Policies below.

Grading Policy

• Grading on participation and in-class assignment will be based on the student's effort and demonstrated knowledge of the reading material assigned that day. In-class assignments cannot be made-up.
• Makeup policy—There is no makeup exam except in cases of verifiable emergencies—i.e. Doctor’s note, accident report, police report. One quiz may be made up for any (or no) reason. A second makeup requires a verifiable excuse or is subject to a 10% penalty. No more than two makeup quizzes. Makeups must be made up within one week. In-class assignments cannot be made up. I will drop the lowest quiz grade, with the exception of makeup quizzes which cannot be dropped.
• Late assignments— Tardiness is not tolerated, but llate assignments will be accepted WITHIN ONE WEEK of due date. In case of verifiable emergency—illness or accident—you will be entitled to a one-week grace period. Be sure to contact the instructor ASAP with appropriate verifiable documentation. Late assignments without an acceptable reason and documentation will be automatically downgraded by 10%. If you cannot make class due to an emergency, hand your paper in early or have a friend hand it in for you. Ultimately, however, you are responsible for the submission of your own paper. Be sure to contact the instructor ASAP with appropriate verifiable documentation.
• Final grade will be based on the total of all assignments, weighted accordingly as outlined above. In case of verifiable emergency—illness or accident—you will receive a one week grace period.
• Submissions—All submissions will be graded for content—structure, clarity, substance—and for appropriateness in formatting, especially with regard to citations.
  
• All submissions should have a solid structure, clarity—i.e. correct spelling, appropriate grammar—and substance—i.e. good insights and/or originality is not reflected in a regurgitation of class discussion or the readings.
• All submissions—essays, assignments, homework—must be typed.
• Word count should be strictly observed , +/- 50 words—i.e. a 1000 word essay should range between 950 to 1050 words.
• Do not attach a cover sheet.
• Include the following: your name, the due date, the word count. If you are using MS Word, click on Tools, then Word Count; it will automatically count all the words in your document. You do not need to provide your student number, course or instructor name.
• A brief title is appropriate for all submissions; copying and pasting the question/issue is not.
• Type and format all submissions in a manner consistent with college-level work. Follow these guidelines:
  
• Space lines approximately 1.5 spaces.
• Set margins at one inch.
• Use font size no smaller than 12 points; font face of Times New Roman, Arial or equivalent.
• Indent long quotations.
• Italicize or underline book titles, use quotation marks for article titles, format citations appropriately.
• A bibliography is unnecessary in a short paper since citations should be complete. Citations for books used in class are unnecessary, but an inline page referent is obligatory
• For other formatting issues, follow the guidelines found in the MLA Handbook, The Chicago Book of Style, or any other recognized guidebook on academic style.
  
• A brief title is appropriate for all submissions; copying and pasting the question/issue is not.
• For more information on structure

QUESTIONS The instructor maintains an open door policy—if my office door is open, feel free to come in unless I am speaking to another student. If you have further questions or concerns, please see the instructor during office hours or make an appointment. All students are encouraged to come by and visit.

Blackboard: All communications and schedule changes will be on Blackboard. Please go to gwu.blackboard.com, log on to this class. and familiarize yourself with it. BE sure to check Staff Information for my “real” email address.

Images

Literature in Translation

And here I thought I had caught up with all my work

Excuse me while I prepare for next semester, even as I struggle to keep pace with this semester. I will be teaching J-Lit in Translation, as I always do, and am considering adding a few new books, so I will be listing books that I might consider. Just think of this post as me talking to myself. But please feel free to comment on any of the books you have already read, or if you have an suggestions.

The class is a survey course, so the books should be basic and representative of the author, and the authors should be representative of J-Lit. So that should narrow it down to, say, 40 poets and authors? But I only have 15 weeks.

Early Modern

Until recently, I have had students by an Early Modern anthology put out by Columbia University Press. The selection is wide and varied, and the book is relatively inexpensive given its breadth. But I think there might be too much variety. I would rather have more samples of Basho--at least one entire travel journal and maybe even a complete haikai series--and more selections by Saikaku. There is perhaps too much stuff that is not necessary for a survey course. So this year, I've decided to choose just two books and perhaps supplement them with some handouts.

• Basho's Journey: The Literary Prose of Matsuo Basho. Trans. Barnhill, State University of New York Press. #0-7914-6414-8
  
• Saikaku. Popular fiction. I can't figure out a book yet. Anyone have any suggestions?
  

Meiji

• Natsume Soseki, Kokoro. Trans. McClellan, Dover Publications. #0486451399
• Akutagawa Ryunosuke, Rashomon and Seventeen Other Stories, Trans. Rubin. Penguin Classics. #0143039849

Mid-20th century

• Tanizaki Jun'ichiro, Seven Tales, which include the novella "Portrait of Shunkin" and other strangely half-misogynistic, half-masochistic stories like "Tattoo", "Aguri" and "Bridge of Dreams". Vintage. #0679761071
• Kawabata Yasunari, Snow Country. "Izu Dancer" OR The Old Capital. Trans. Holman. Shoemaker & Hoard. #1593760329

Post-War

• Enchi Fumiko, The Waiting Years. Trans. Bester. Kodansha International. #477002889X
  Feminist tale... well, feminist for a woman writing in the 1950s. But its about a woman who has been abused all her life--husband cheats on her, even brings his mistress home to live with them--but finally gets her revenge when she... well, I won't spoil it for you.
  
• Mishima Yukio. "The Boy Who Wrote Poetry", Confessions of a Mask. Peter Owen Ltd. #0720610311
  Both of these tell the story of the Mishima everyone seems to forget about, unless you're gay. Confessions is semi-autobiographical, describing Mishima's own struggles to somehow capture masculinity, while realizing that he is unable to deny his attraction to day laborers and a certain classmate in an all boy school.
  

Post-modern

• Abe Kobo, The Boxman; film Face of Another. I think most people are famliar with Woman in the Dunes, which is okay, I guess, as a reflection of the loss of identity through corporate society. But Abe does a better job of the loss of identity and isolation in the modern world in The Boxman--the main character literally lives in his box--no, no, no, he isn't homeless, he actually wears it 24/7! And The Face of Another deals with a man who loses his face in a chemical (modern) accident, but creates a new one with a newly invented material (modern, again) so he can eventually seduce his wife as a stranger. Admit it. You wanna read both of them now, right?
  
• Nakagami Kenji, The Cape. Trans. Zimmerman. Stone Bridge Press. #1933330430
  Violent, sexist and representative of Japan's untouchable class, the burakumin.
  
• Murakami Ryu, 69. Trans. McCarthy. Kodansha Amer Inc, #4770019513.
  I'd rather read Coin Locker Babies, but I think its too long.
  
• Murakami Haruki, Elephan Vanishes. trans. Rubin. Vintage. #0679750533

This list is pretty threadbare... I will be adding and subtracting from this list so you can just ignore me while I work.

edoption #1045559

• Ihara, Saikaku, 1642-1693. Five women who loved love. Translated by Wm. Theodore de Bary, with a background essay by Richard Lane, and the 17th-century illus. by Yoshida Hambei. 1956 PZ3 .I235 Fi
• Ihara, Saikaku, 1642-1693. Great mirror of male love / Ihara Saikaku ; translated, with an introduction, by Paul Gordon Schalow. 1990 PL794.N37 E5 1990
• [ 7 ] Ihara, Saikaku, 1642-1693. Life of an amorous man. Translated by Kengi Hamada. Illus. by Masakazu Kuwata. 1964 PZ3.I235 Lg
• [ 9 ] Ihara, Saikaku, 1642-1693. Tales of Japanese justice / by Ihara Saikaku ; translated by Thomas M. Kondo, Alfred H. Marks. 1980 DS 21 .A83 no.24
• [ 10 ] Ihara, Saikaku, 1642-1693. This scheming world. Translated by Masanori Takatsuka and David C. Stubbs. GW 1965 PL898.I38 S3
• [ 11 ] Ihara, Saikaku, 1642-1693. Worldly mental calculations : an annotated translation of Ihara Saikaku's Seken munezanyo / by Ben Befu. -- 1976 PL 794 .S413 1976