Journal Publication Workshop

Friday, March 31st, 3:00 – 4:45 p.m.
CEAS 319 (1155 E. 60th St)
Featuring
Kyeong-Hee Choi
Ariel Fox
Paola Iovene
Haun Saussy
Thomas Kelly
Brian White
Nicholas Wong
What do journals look for in an article? When is the right time to publish? Where might one look to submit work? How does the process work, from paper draft to printed piece?
Please join us on Friday for a roundtable discussion on the topic of publishing in academic journals, where these and other questions will be addressed. This will be a unique opportunity to engage with a mixed panel representing both ends of the publication process, from graduate students and faculty at the start of their publishing careers to those serving on advisory and editorial boards for leading journals within and beyond East Asian studies.

Spring 2017 Schedule

3/31 (F) Journal Publication Roundtable Discussion
With Paola Iovene, Kyeong-Hee Choi, Haun Saussy, Ariel Fox, Thomas Kelly, Brian White, Nicholas Wong
3:00 – 4:45 p.m.
CEAS Room 319

4/12 (W) Theodore Hughes (​Korea Foundation Professor of Korean Studies in the Humanities​ , Columbia University)
Seminar Visit, RSVP required
Location and Time TBA

4/14 (F) Nick Lambrecht (PhD Candidate, University of Chicago)
Title: “Long Repatriate Postwars: Memory and Postmemory in Contemporary Japanese Repatriation Literature”
3:00 – 5:00 p.m.
Wieboldt 301N

4/28 (F) Daniela Licandro (PhD Candidate, University of Chicago)
Title: “A Puzzling History of Mistakes: Wei Junyi’s Recollections of Pain
3:00 – 5:00 p.m.
CEAS Room 319

5/12 (F) Robert Tierney (Associate Professor of Japanese Literature, University of Illinois Urbana-Champaign)
Co-sponsored with the Midwestern Japanese Studies Workshop and the East Asia: Transregional Histories Workshop
Time: TBD
CEAS Room 319

5/19 (F) Brian White (PhD Student, University of Chicago)
Title: “Race and the Cyborg Subject in Japanese Science Fiction”
3:00 – 5:00 p.m.
Wieboldt 301N

6/2 (F) Hyunjeong Lee (Associate Professor of Chinese Language and Literature, University of Seoul)
Title: “Against the Bamboo Curtain: Ri Yŏng-hŭi’s Writings on China in the 1970s”
3:00 – 5:00 p.m.
CEAS Room 319

Sohye Kim

Friday, March 10, 3:00 – 5:00 p.m. in CEAS 319 (1155 E. 60th St.)

Sohye Kim, “The Divided Nation and Korean Diasporic Filmmakers’ Bittersweet Return”

Please join us this Friday as we host Sohye Kim (PhD Candidate, EALC). Sohye will present a draft of the third chapter of her dissertation. She summarizes the chapter as follows:

This paper explores the notions of home, homeland, and homecoming in Korean diaspora films. By following Korean diasporic filmmakers’ cinematic journey between the divided homeland and host country, it questions how the medium of film delivers the experience of homecoming. The notion of “homecoming” is applied not only to human subjects’ return to their homeland in the film texts but also to the diasporic filmmakers’ incorporation into the homeland’s film industry. By examining the homecoming in this dual sense, the paper aims to illuminate the relationships between the diasporic films and human subjects and the audience of both homeland and host country.

To be specific, this paper deals with works by ethnic Korean filmmakers active in Japan that either feature the issue of homecoming or were produced in South Korea. My analysis centers upon two second-generation Korean residents in Japan—one male and one female—and relatively established directors in Japan, namely, Sai Yoichi and Yang Yong-hi. I focus on Blood and Bones (2004) by the former and the documentaries Dear Pyongyang (2005) and Sona, the Other Myself (2010) as well as Our Homeland (2012), a feature film, by the latter. My main concern in this paper revolves around the directors’ unstable and shifting positions between the host country, Japan, the home country, divided Korea, and spectatorship in both countries. On the basis of historical contextualization, I comparatively explore the relationships among representations, audience reactions, generations, and gender.

The paper is available at this link. If you have not received the password for the post, or if you have questions about accessibility, please feel free to contact Alex Murphy at murphya1@uchicago.edu.

 

Aliz Horvath

Friday, February 24, 3:00 – 5:00 p.m. in CEAS 319 (1155 E. 60th St.)

Aliz Horvath, “Confucianism as Method: From the History of Rituals to Digital Philology”

Please join us this Friday as we host Aliz Horvath (PhD Candidate, EALC). Aliz will present an overview of her dissertation project with particular attention to source material and method. She describes her project as follows:

This talk will consist of multiple components: I will first introduce the broader context of my dissertation project which showcases the combination of “traditional” and digital methods in a transnational framework by exploring the role of Confucianism in early modern Japan based on the study of the controversial and underresearched history writing project of the Mito school, entitled the Dai Nihon shi (The History of Great Japan), and the architect of the project, Tokugawa Mitsukuni (1628-1700), the second daimyo of Mito domain who became a celebrated part of contemporary Japanese popular culture. Subsequently, I am going to present a snapshot of the analysis of my main primary source (as part of the larger project) by analyzing how the scholars of Mito understood the concept of history and Japaneseness in Tokugawa Japan. Finally, using the abovementioned as a starting point, I will invite the participants of the workshop to an open discussion on intellectual history and the strengths, merits, and potential limitations of digital methods as opposed to more “traditional” approaches.

The 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 Alex Murphy at murphya1@uchicago.edu.

William Carroll

Friday, February 10, 3:00 – 5:00 p.m. in CEAS 319 (1155 E. 60th St.)

William Carroll, “The Filmography of Suzuki Seijun, as Viewed Retroactively in the Wake of the Suzuki Seijun Incident”

This Friday, please join us as we host William Carroll (PhD Candidate, Cinema and Media Studies/EALC). William will present a draft of the first chapter of his dissertation. He summarizes the chapter as follows:

This is a draft of the first chapter of my dissertation.  It is a history of the Suzuki Seijun Incident, and laying out the way Suzuki becomes claimed by two different theoretical/critical strands (the New Left, which had been around for the duration of the 1960s, on the one hand and the newly emerging shinefiru-ha on the other).  It is probably my most historical and least film-oriented chapter as it goes somewhat into the changes in the film industry leading up to Suzuki’s firing and the relationship between the Suzuki Seijun mondai kyoto kaigi and the student movement of the 1960s.  However, there is also a brief comparison between Oshima Nagisa’s Cruel Story of Youth with Suzuki’s Everything Goes Wrong as a way of looking at his relationship with the Japanese New Wave.

The 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 Alex Murphy at murphya1@uchicago.edu.

 

Kyle Peters

Friday, January 27, 3:00 – 5:00 p.m. in CEAS 319 (1155 E. 60th St.)

Kyle Peters, “Artistic Production and the Making of the Artist: Applying Nishida Kitarō to Discussions of Authorship”

This Friday, please join us as we host Kyle Peters (PhD Student, EALC). Kyle summarizes his talk as follows:

Nishida Kitarō’s account of authorship and artistic production constitutes the focus of this essay. Its general thesis is that Nishida’s keen attention to the subjective qua objective, active qua intuitive intersection can be used to articulate a new, bidirectional account of artistic production. This essay uses this bidirectional account to critically engage with those unidirectionalinterpretive procedures grounded in the life or death of the Author; it takes up the former as it privileges the subjective conditions of production, reducing text and historical moment to a derivative of the Author and their life, and the latter as it privileges the objective conditions of production, subsuming text and author into a byproduct of the historical moment. In doing so, it claims that both of these procedures fail to adequately address the way in which artist, text, and historical moment inter-connect. Using Nishida’s thought to more fully consider this inter-connection, this essay brings in his attention to the above-mentioned subjective qua objective intersection in order to offer a bidirectional interpretation that is sensitive to the way in which artist, text, and historico-material conditions are produced in and through each other. More specifically, this essay uses Nishida’s thought to advance two central claims about authorship: first, that artistic agency is decentered across a manifold of positions in artistic production, and thus that artistic production is diffused across the continuum of subjectivity and objectivity; and second, that the artist’s subjectivity is creatively produced through the novelty of the work of art as it reallocates, reorganizes, and redeploys the historical body in the self-determination of the present moment.

The 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 Alex Murphy at murphya1@uchicago.edu.