講義概要／Course description

科目基礎情報／Course information
博士前期課程グローバル・スタディーズ研究科／GRADUATE
開講元学部／Faculty
SCHOOL OF GLOBAL STUDIES
グローバル社会専攻／MASTER'S PROGRAM IN GLOBAL
開講元学科／Department
STUDIES
登録コード／Registration Code MZJS5420
期間／Period 2019年度／Academic Year 秋学期／AUTUMN
学期／Semester 秋学期／AUTUMN
曜限／Period 月／Mon 6, 木／Thu 6
科目名／Course title POPULAR CULTURE*／POPULAR CULTURE
授業形態／Course Type 講義 ／Lecture
科目ナンバリング／Course
JST617
Numbering
レベル／Level 600
教員表示名 GALBRAITH Patrick
主担当教員名／Instructor GALBRAITH Patrick／GALBRAITH PATRICK
単位数／Credits 4
更新日／Date of renewal Sep 5, 2019

講義概要情報／Course description
popular culture
Japan
キーワード
critical theory
／Keywords
politics
individual project
This course doubles as an introduction to Japanese popular culture and
critical approaches to culture. Students will read and apply selections of
critical theory to case studies of Japanese popular culture, which will open
Japanese popular culture to critical inquiry and ground critical theory with
concrete examples to work through. The case studies focus on Japanese
popular culture, which students can experience directly outside the
講義概要
classroom and bring into class discussions. Note that this is not a
／Course description literature, media or art history course, but rather a course based in, though
not limited to, anthropology. As part of graduate education, one of the
primary goals of the course is to assist students in moving forward with
graduation projects. To this end, students will choose a written component
that best fits their project and stage, which they will work on throughout
the semester and submit at the end for evaluation.
By the end of the semester, students will be able to think cross-culturally,
collaboratively and critically about popular culture and the world around
到達目標（授業の目標）
them. They will also have made significant progress toward their goals as
／Course objectives graduate students at Sophia University by pursuing individual projects
and submitting final written work.
 Reading, reading notes, preparing show and tell, working on final written
submission.

The requirements for class are as follows.

1) Regular attendance.
Students may miss up to two classes, but need to inform the instructor
ahead of time. If the student is 10 minutes late to class, it counts as an
absence. In case of sudden, extended or unavoidable frequent absences,
students should be in contact with the instructor (documentation may be
necessary in some cases).

2) Reading notes.
Students are expected to do all assigned readings before class and be
prepared to actively participate in discussions. Students will submit
reading notes (1-2 typed pages in length) on Moodle by 10:00 on the day
of class. Reading notes should include a brief summary of the readings,
comments, questions and possible connections to previous readings and
the student’s graduation project. Reading notes are meant to prepare
students for class discussions and to spur continual engagement with ideas
building toward your project. Reading notes should be printed, brought to
class and submitted to the instructor at the end of class.

3) Class discussion.
Students will sign up to start off and lead the discussion of readings
assigned for a given day. Students will do this at least twice during the
semester, and anything after that will be counted as extra credit. If there is
more than one student signed up for the day, the students will work
授業時間外（予習・復習等）の together as a group. Whether alone or in groups, students will bring to
class and present from a printed document containing notes, quotes and
学習
questions. This document will be submitted to the instructor at the end of
／Expected work outside of class class.

4) Show and tell.

Students will sign up to present something that they are interested in,
working on or have stumbled across. This can be anything to do with
popular culture, contemporary Japan, media, news and so on, but
connections to the topic of the session when the student presents are
appreciated. If possible, and students are comfortable doing so, presenting
their own research or research topics is most welcome. Unless related to
the topic of the day and introducible in the main discussion, show and tell
will be scheduled at the end of each session. No more than three students
can sign up per session, so do not put this off until the end of the semester.

5) Written work.
Students will submit written work for evaluation at the end of the term.
Options include proposal for graduation project, annotated bibliography
or chapter of the student’s graduation project (see the appendix), and will
depend on where the student is in his or her time at Sophia University.
The written work submitted by the student should reflect engagement with
course readings and discussions, but is ultimately intended to be a self-
motivated project initiated, pursued and brought to fruition by the student
in the service of his or her graduation project. Rather than requiring the
writing of a seminar paper that might not bring the student closer to his or
her academic goals at Sophia University, this course is designed to
support the independent projects and flourishing of individual students.
Students should plan to meet with the instructor to decide what their
written work will be – that is, what the student will be held accountable
for submitting at the end of the term – and to be working on the project
throughout the semester.
 可／Yes
他学部・他研究科受講可否
※要覧記載の履修対象とする年次を確認すること。
／Other departments' students
Please make sure to confirm the student year listed in the bulletin.

出席状況／Attendance （50.0％）
授業参加／Class participation （10.0％）
評価基準・割合 リアクションペーパー／Reaction paper/in-class assignments （
／Evaluation 20.0％）
レポート／Report （10.0％）
その他／Others(in detail) （10.0％） ：Show and tell

テキスト／Textbook 自由記述／Free Text ：Available as PDFs on Moodle. There are no

required textbooks for this class.
必要外国語
English
／Required foreign languages

講義スケジュール／Schedule
授業計画／Class schedule
1.Orientation
In class: Go over syllabus, self-introductions, discuss the study of popular
culture
2.Mapping “Japan”
Read for class: Harley “Deconstructing the Map,” Morris-Suzuki “Japan”
Optional: Painter “Japanese Daytime Television, Popular Culture, and
Ideology”
3.Orientalism
Read for class: Said Orientalism (pp1-15, 31-46), Benedict The
Chrysanthemum and the Sword (pp177-194)
4.Cultural Imaginary
Read for class: Ivy Discourses of the Vanishing (pp1-28), Yano “Enka as
Engendered Longing: Romance, Furusato, ‘Japan’”
5.Cross-Cultural Imaginaries
Read for class: Jenkins “Pop Cosmopolitanism: Mapping Cultural Flows
in an Age of Media Convergence,” Iwabuchi “When the Korean Wave
Meets Resident Koreans in Japan”
6.National/Popular Culture
Read for class: Hall “Notes on Deconstructing ‘the Popular,’” Iwabuchi
“Undoing Inter-national Fandom in the Age of Brand Nationalism”
7.Mothers, Obentō and Ideology
Read for class: Althusser “Ideology and Ideological State Apparatuses,”
Allison “Japanese Mothers and Obentōs: The Lunch Box as Ideological
State Apparatus”
Optional: Hall “The Problem of Ideology: Marxism Without Guarantees”
Screen in class: “Authors@Google: Slavoj Žižek” (4:00-15:00)
8.The Culture Industry
Read for class: Horkheimer and Adorno “The Culture Industry:
Enlightenment as Mass Deception,” Marx “The Jimusho System:
Understanding the Production Logic of the Japanese Entertainment
Industry”
Screen in class: Documentary of AKB48
9.Culturalism (1)
Read for class: Storey “Culturalism,” Ho “Emotions, Desires, and
Fantasies: What Idolizing Means for Yon-sama Fans in Japan”
10.Culturalism (2)
Read for class: Hall “Encoding and Decoding,” Glasspool “From Boys
Next Door to Boys’ Love: Gender Performance in Japanese Male Idol
Media”
11.Male Gaze?
Read for class: Mulvey “Visual Pleasure and Narrative Cinema,” Allison
“A Male Gaze in Japanese Children’s Cartoons?”
Optional: Hambleton “When Women Watch: The Subversive Potential of
Female Friendly Pornography”
Screen in class: The Pervert’s Guide to Cinema, AKB48 “Ponytail to
shushu”
12.Cuteness and Cruelty
Read for class: Ngai “The Cuteness of the Avant-Garde,” Kinsella “Cuties
in Japan”
Optional: Bring in a cute object for class discussion
13.Subcultures, Punks and Lolitas
Read for class: Hebdige “From Culture to Hegemony,” Hebdige
“Subculture,” Gagné “Urban Princesses: Performance and “Women's
Language” in Japan's Gothic/Lolita Subculture”
Screen in class: Shimotsuma Monogatari
14.Kamikaze Bikers and Business as Usual
Read for class: Willis Learning to Labor (pp1-7, 126-155), Sato Kamikaze
Biker (pp107-130, 165-170, 176-177)
Optional: Slater “The Making of Japan’s New Working Class: ‘Freeters’
and the Progression From Middle School to the Labor Market”
Screen in class: Sayonara Speed Tribes
15.Performing Gender (1)
Read for class: Feder “A Radiant Smile From the Lovely Lady,” Ho
“Tracing Tears and Triple Axels: Media Representations of Japan’s
Women Figure Skaters”
Optional: Aiba “Japanese Women Professional Wrestlers and Body
Image”
Screen in class: Gaea Girls / Shinjuku Boys
16.Performing Gender (2)
Read for class: Butler “Performative Acts and Gender Constitution,”
Robertson “Doing and Undoing ‘Female’ and ‘Male’ in Japan: The
Takarazuka Revue”
Optional: Butler “Gender is Burning: Questions of Appropriation and
Subversion”
Screen in class: Paris is Burning, Dream Girls
17.Posthuman Politics
Read for class: Haraway “A Cyborg Manifesto: Science, Technology, and
Socialist-Feminism in the Late Twentieth Century,” Robertson “Gendering
Humanoid Robots: Robo-Sexism in Japan”
Optional: Katsuno “The Robot’s Heart: Tinkering with Humanity and
Intimacy in Robot Building”
18.Media Events
Read for class: Cottle “Mediatized Rituals: Beyond Manufacturing
Consent,” Prusa “Megaspectacle and Celebrity Transgression in Japan:
The Sakai Noriko Media Scandal”
Optional: Starn “Internet Wars, Sex Addiction, and the Crucifixion of
Tiger Woods”
19.Sexuality and Politics
Read for class: Rubin “Thinking Sex: Notes for a Radical Theory of the
Politics of Sexuality,” Kinsella Adult Manga: Culture and Power in
Contemporary Japanese Society (pp102-138)
Screen in class: Bronies
20.The Kids Are (Not) All Right
Read for class: Hall et al Policing the Crisis (pp3-28), Leheny Think
Global, Fear Local (pp49-82)
Screen in class: Love & Pop
21.Immaterial Labor
Read for class: Lazzarato “Immaterial Labor,” Mouri “J-Pop: From the
Ideology of Creativity to DiY Music Culture”
Optional: Condry “Who Makes Anime?”
22.Media Worlds
Read for class: Steinberg Anime’s Media Mix (pp37-86, 135-170)
Screen in class: Tetsuwan Atomu ep1
23.Learning to Immaterial Labor
Read for class: Coté and Pybus “Learning to Immaterial Labour 2.0:
MySpace and Social Networks,” Lukács “Dreamwork: Cell Phone
Novelists, Labor, and Politics in Contemporary Japan”
Optional: Lukács “The Labor of Cute: Net idols, Cute Culture, and the
Digital Economy in Contemporary Japan”
24.Moving Pictures
Read for class: Dyer “Entertainment and Utopia,” Lamarre “Otaku
Movement”
Screen in class: Daicon III and IV
25.Affective Economics (1)
Read for class: Jenkins “Buying into American Idol: How We Are Being
Sold on Reality Television,” Karlin “Through a Looking Glass Darkly:
Television Advertising, Idols, and the Making of Fan Audiences”
Screen in class: Century of the Self
26.Affective Economics (2)
Read for class: Hardt “Affective Labor,” Takeyama “Intimacy for Sale:
Masculinity, Entrepreneurship, and Commodity Self in Japan’s Neoliberal
Situation”
Screen in class: The Great Happiness Space
27.Escaping “Japan”
Read for class: Condry “Yellow B-Boys, Black Culture, and Hip-Hop in
Japan,” Coates “Rogue Diva Flows: Aoi Sola’s Reception in the Chinese
Media and Mobile Celebrity”
28.Review and Wrap Up