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<h2 class="hd hd-2 unit-title">Bibliography</h2>
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<p class="p1" style="font-size: 16px;"><b>Bibliography - VTx</b></p>
<p class="p2" style="font-size: 16px;"><b>MIT Visualizing Cultures Units — main textbooks and image sources for the course [visualizingcultures.mit.edu]:</b></p>
<p class="p3" style="font-size: 16px;">Dower, John W. <span class="s1"><span style="font-style: italic;">Black Ships & Samurai: Commodore Perry and the Opening of Japan (1853– 1854), </span></span>in collaboration with and published by MIT Visualizing Cultures, 2002</p>
<p class="p3" style="font-size: 16px;">Dower, John W. <span class="s1"><span style="font-style: italic;">Yokohama Boomtown: Foreigners in Treaty-Port Japan (1859-1872), </span></span>in collaboration with and published by MIT Visualizing Cultures, 2008</p>
<p class="p3" style="font-size: 16px;">Dower, John W. <span class="s1"><span style="font-style: italic;">Throwing Off Asia I-III, </span></span>in collaboration with and published by MIT Visualizing Cultures, 2008</p>
<p class="p3" style="font-size: 16px;">Ulak, James T. <span class="s1"><span style="font-style: italic;">Kiyochika’s Tokyo: Master of Modern Melancholy (1876-1881), units I-III</span></span>, in collaboration with and published by MIT Visualizing Cultures, 2016</p>
<p class="p3" style="font-size: 16px;">Ulak, James T. <span class="s1"><span style="font-style: italic;">Tokyo Modern—I: Koizumi Kishio’s “100 Views” of the Imperial Capital (1928-1940), </span></span>in collaboration with and published by MIT Visualizing Cultures, 2009</p>
<p class="p3" style="font-size: 16px;">Ulak, James T. <span class="s1"><span style="font-style: italic;">Tokyo Modern—III: “100 Views” by i Artists (1928-1932), </span></span>in collaboration with and published by MIT Visualizing Cultures, 2009</p>
<p class="p3" style="font-size: 16px;"><span class="s1"><span style="font-style: italic;">Also mentioned:<br /></span></span>Gerteis, Christopher. <span class="s1"><span style="font-style: italic;">Political Protest in Interwar Japan</span></span>, in collaboration with and published by MIT Visualizing Cultures, 2013</p>
<p class="p2" style="font-size: 16px;"><b>Bibliography of Sources:</b></p>
<p class="p3" style="font-size: 16px;">Art Institute of Chicago. “One Hundred Views of Tokyo: Message to the 21st Century Exhibition,” wall text from the exhibition, Art Institute of Chicago, September 21 - December 8, 2019<br /><span class="s1"><span style="font-style: italic;">Discussed in Module V, Day 26</span></span></p>
<p class="p3" style="font-size: 16px;">Austin, James B. “Shin Tokyo Hyakkei: The Eastern Capital Revisited by the Modern Print Artists,” Ukiyo-e Art, <span class="s1"><span style="font-style: italic;">A Journal of the Japan Ukiyo-e Society</span></span>, No. 14, 1966<br /><span class="s1"><span style="font-style: italic;">Discussed in Module IV, Day 22</span></span></p>
<p class="p2" style="font-size: 16px;"><span class="s2">Benjamin, Walter. </span><span style="font-style: italic;">The Arcade Projects</span><span class="s2">, Harvard University Press, 2002 </span><span style="font-style: italic;">Discussed in Module II, Nagai Kafū, the Man in the Hat</span></p>
<p class="p3" style="font-size: 16px;">Borland, Janet. “Capitalising on Catastrophe: Reinvigorating the Japanese State with Moral Values through Education Following the 1923 Great Kantō Earthquake,” <span class="s1"><span style="font-style: italic;">Modern Asian Studies</span></span>, vol. 40, no. 4, 2006 (accessed through JSTOR)<br /><span class="s1"><span style="font-style: italic;">Discussed in Module III, Day 17 Pathway 02 - Infrastructure</span></span></p>
<p class="p3" style="font-size: 16px;">Copeland, Rebecca L. and Ortabasi, Melek (editors). <span class="s1"><span style="font-style: italic;">The Modern Murasaki: Writing by Women of Meiji Japan</span></span>, Columbia University Press, NY, 2006<br />Available on JSTOR [<span class="s3">https://www-jstor-org.libproxy.mit.edu/stable/10.7312/cope13774</span>] <span class="s1"><span style="font-style: italic;">Discussed in Module II, Day 8</span></span></p>
<p class="p3" style="font-size: 16px;">Dower, John; Morse, Anne Nishimura; Atkins, Jacqueline; Sharf, Frederic. <span class="s1"><span style="font-style: italic;">The Brittle Decade: Visualizing Japan in the 1930s</span></span>, Boston Museum of Fine Arts, MFA Publications, 2012 <span class="s1"><span style="font-style: italic;">Discussed in Module IV, Day 23, 24</span></span></p>
<p class="p2" style="font-size: 16px;"><span class="s2">Dower, John. </span><span style="font-style: italic;">War Without Mercy: Race and Power in the Pacific War </span><span class="s2">Dower, John. </span><span style="font-style: italic;">Embracing Defeat: Japan in the Wake of World War II </span><span class="s2">(1999) </span><span style="font-style: italic;">Discussed in Module V Conclusion, Day 26</span></p>
<p class="p3" style="font-size: 16px;">Harvard Map Collection, "Where Disaster Strikes: Modern Space and the Visualization of Destruction," an exhibition in Pusey Library from 14 Dec 2016 to 19 April 2017,<br /><span class="s3">Read on the Harvard University website<br /></span><span class="s1"><span style="font-style: italic;">Discussed in Module III, Day 14</span></span></p>
<p class="p3" style="font-size: 16px;">Hammer, Joshua. “The Great Japan Earthquake of 1923,” <span class="s1"><span style="font-style: italic;">Smithsonian Magazine</span></span>, May 2011 <span class="s3">https://www.smithsonianmag.com/history/the-great-japan-earthquake-of-1923-1764539/ </span><span class="s1"><span style="font-style: italic;">Discussed in Module III, Day 14</span></span></p>
<p class="p4" style="font-size: 16px;"><span class="s4">Hamp, Mathias. </span>“Hymns to bygone times by Nagai Kafū,” Medium.com, May 22, 2019 <span class="s5"><span style="font-style: italic;">Discussed in Module II, Day 8</span></span></p>
<p class="p2" style="font-size: 16px;"><span class="s2">Hutchinson, Rachael. </span><span style="font-style: italic;">Nagai Kafu's Occidentalism: Defining the Japanese Self</span><span class="s2">, State University of New York Press, New York, 2011<br /></span><span style="font-style: italic;">Discussed in Module II, Day 8, 9</span></p>
<p class="p3" style="font-size: 16px;">Iizawa, Tadashi. Annotations on Koizumi Kishio’s print series, “100 Views of Great Tokyo in the Shōwa Era” (1928 and 1940), unpublished, source: Sackler Gallery of Art, Smithsonian Institution<br /><span class="s1"><span style="font-style: italic;">Appears in Module III</span></span></p>
<p class="p3" style="font-size: 16px;">Kafū, Nagai. "Fukagawa no uta" (A Song of Fukagawa), written in December 1908 and published in Shumi in February 1909.<br /><span class="s1"><span style="font-style: italic;">Discussed in Module II, Day 8</span></span></p>
<p class="p5" style="font-size: 16px;">Kawabata, Yasunari. <span class="s1"><span style="font-style: italic;">The Scarlet Gang of Asakusa</span></span>, translated by Alisa Freedman, University of California Press, Berkeley, Los Angeles, London, 2005 (originally published in Japanese in 1930)</p>
<p class="p3" style="font-size: 16px;"><span class="s1"><span style="font-style: italic;">Discussed in Module IV, Day 23</span></span></p>
<p class="p3" style="font-size: 16px;">Kinoshita, Chika. “The Edge of Montage,” <span class="s1"><span style="font-style: italic;">The Oxford Handbook of Japanese Cinema</span></span>, Daisuke Miyao (editor), Oxford University Press, 2018<br /><span class="s1"><span style="font-style: italic;">Discussed in Module IV, Day 22</span></span></p>
<p class="p3" style="font-size: 16px;">Lachaud, François. "Les provinces de la nuit: quelques nocturnes de Kobayashi Kiyochika (1847-1915)," <span class="s1"><span style="font-style: italic;">Arts Asiatiques </span></span>#66, 2011<br /><span class="s1"><span style="font-style: italic;">Discussed in Module II, Day 13 (final exam)</span></span></p>
<p class="p2" style="font-size: 16px;"><span class="s2">Maeda, Ai. </span><span style="font-style: italic;">Text and the City: Essays on Japanese Modernity</span><span class="s2">, edited by James A. Fujii, Duke University Press, Durham and London, 2004<br /></span><span style="font-style: italic;">Discussed in Module II, Day 6 and Day 10</span></p>
<p class="p2" style="font-size: 16px;"><span class="s2">Marcus, Marvin. </span><span style="font-style: italic;">Reflections in a Glass Door: Memory and Melancholy in the Personal Writings of Natsume Sōseki</span><span class="s2">, University of Hawai'i Press, 2009<br /></span><span style="font-style: italic;">Discussed in Module II, Day 8</span></p>
<p class="p3" style="font-size: 16px;">Mizuta, Miya Elise, Chapter 17 - Tokyo, <span class="s1"><span style="font-style: italic;">Cities of Light: Two Centuries of Urban Illumination</span></span>, edited by Sandy Isenstadt, Margaret Maile Petty, Dietrich Neumann, Routledge, 2014 <span class="s1"><span style="font-style: italic;">Discussed in Module II, Day 9</span></span></p>
<p class="p2" style="font-size: 16px;"><span class="s2">Nagahara, Hiromu. </span><span style="font-style: italic;">Tokyo Boogie-Woogie: Japan's Pop Era and its Discontents</span><span class="s2">, Harvard University Press, 2017<br /></span><span style="font-style: italic;">Discussed in Module III, Day 14 and Module IV, Day 22</span></p>
<p class="p3" style="font-size: 16px;">National Museum of Asian Art, Smithsonian Institution. “Scenes of the 1923 Earthquake,” blogpost, September 1, 2016<br /><span class="s3">Read it on the Smithsonian Institution website<br /></span><span class="s1"><span style="font-style: italic;">Discussed in Module III, Day 14</span></span></p>
<p class="p2" style="font-size: 16px;"><span class="s2">Ransome, Stafford. </span><span style="font-style: italic;">Japan in Transition: A Comparative Study of the Progress, Policy, and Methods of the Japanese Since Their War with China</span><span class="s2">, Harper & Row, New York and London, 1899<br /></span><span style="font-style: italic;">Discussed in Module II, Day 7</span></p>
<p class="p3" style="font-size: 16px;">Statler, Oliver. “Modern Japanese Creative Prints,” <span class="s1"><span style="font-style: italic;">Monumenta Nipponica</span></span>, Vol. 11, No. 2 (Jul., 1955), pub. Sophia University, pp. 111-169. Stable URL: <span class="s3">https://www.jstor.org/stable/2382817 </span><span class="s1"><span style="font-style: italic;">Discussed in Module IV, Day 22, 23</span></span></p>
<p class="p5">Sugimoto Fumiko, translated from Japanese by Michael Burtscher. "Shifting Perspectives on the Shogunate’s Last Years: Gountei Sadahide’s Bird’s-Eye View Landscape Prints," <em>Monumenta Nipponica</em> 72/1: 1–30, Sophia University, 2017<br /><em>Discussed in Reference: Woodblock Prints</em></p>
<p class="p3" style="font-size: 16px; line-height: 25.6px;"><span class="s1"><span style="line-height: 1.6;">Tanizaki, </span>Jun'ichirō.<i> Naomi </i>(Shinchōsha [Japanese], Knopf [English], 1925)</span></p>
<p class="p3" style="font-size: 16px;">Tsuchimochi, Shinji. <span class="s1"><span style="font-style: italic;">100 Views of Tokyo</span></span>, an original series of manga-style color pints, with maps, English / Japanese, Shikaku Publishing Company, 2016 [<span class="s3">link</span>]<br /><span class="s1"><span style="font-style: italic;">Discussed in Module V, Day 26</span></span></p>
<p class="p2" style="font-size: 16px;"><span class="s2">Weisenfeld, Gennifer. </span><span style="font-style: italic;">Imaging Disaster: Tokyo and the Visual Culture of Japan’s Great Earthquake of 1923</span><span class="s2">, University of California Press, 2012<br /></span><span style="font-style: italic;">Discussed in Module III, Day 14</span></p>
<p class="p3" style="font-size: 16px;">Weisenfeld, Gennifer. “On Imaging Disaster: Tokyo and the Visual Culture of Japan‘s Great Earthquake of 1923,” <span class="s1"><span style="font-style: italic;">The Asia-Pacific Journal</span></span>, Vol. 13, Issue 6, No. 2, February 9, 2015 <span class="s1"><span style="font-style: italic;">Discussed in Module III, Day 14<br /><br /></span></span></p>
<p class="p1" style="font-size: 16px;"><a href="https://courses.edx.org/assets/courseware/v1/897d194b33a7c2de9dfddfeb62bebea6/asset-v1:MITx+VTx+1T2019+type@asset+block/VTx-bibliography.pdf" target="_blank" style="color: #0075b4; font-stretch: inherit; line-height: inherit; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; text-decoration: none; transition: all 0.1s linear 0s;">Bibliography in PDF format: click here.</a></p>
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<h2 class="hd hd-2 unit-title">Syllabus</h2>
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<p><b style="text-rendering: optimizeLegibility; margin: 0px; padding: 0px; border: 0px; outline: 0px; font-stretch: inherit; line-height: 1.4em; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; vertical-align: baseline; color: rgb(49, 49, 49);">Syllabus - VTx</b><b></b></p>
<p><b>Entrance Survey & Orientation</b></p>
<h4></h4>
<p><b>Entrance Survey (please complete)</b><br /> Instructions<br /> Entrance Survey (please complete)</p>
<h4></h4>
<p><b>Orientation</b><br /> Orientation: How to use the Video Player<br /> Orientation: Course Navigation</p>
<h4></h4>
<p><br /><b>Module l—Introduction</b></p>
<h4></h4>
<p><b>Day 1 – Tokyo Time Travel</b><br /> 1 - Tokyo Time Travel<br /> Prof. Miyagawa: Welcome to VTx<br /> Prof. Dower and Dr. Ulak: Welcome<br /> Cycle of Destruction & Reconstruction<br /> Why Tokyo, Why 100 Views?<br /> Day 1 Quiz and Discussion: Goals for the Course</p>
<h4></h4>
<p><b>Day 2 – Mapping the City</b><br /> 2 – Mapping the City<br /> Prof. Nagahara: Name Order<br /> Map of Edo, 1680s<br /> Map of Tokyo, 1879<br /> Nihonbashi, A Bridge through Time<br /> Day 2 Quiz & Discussion - What's in a Name</p>
<h4></h4>
<p><b>Day 3 – Image-Driven Scholarship</b><br /> 3 – Image-Driven Scholarship<br /> What is Visualizing Cultures?<br /> Source Units on Visualizing Cultures<br /> Dr. Sebring: Visual Narrative<br /> Museum & Collections<br /> Going to the Smithsonian Exhibition<br /> Moga, & Discussion: Missing Histories</p>
<h4></h4>
<p><b>Day 4 – Modules Overview</b><br /> 4 - Modules Overview<br /> Five-Module Structure of the Course<br /> Preview Module II—Gaslit Tokyo: Kiyochika<br /> Preview Module III—Tokyo Between the Earthquake & the Bombs: Koizumi<br /> Preview Module IV—Tokyo Modern: 100 Views by 8 Artists</p>
<h4></h4>
<p><b>REFERENCE: Timeline of Events</b><br /> Reference: Timeline of Events in Course</p>
<h4></h4>
<p><br /><b>Module II—Gaslit Tokyo: Kiyochika</b></p>
<h4></h4>
<p><b>Day 5 - The Meiji Restoration, 1868</b><span class="s1"> </span> <br /> 5 - The Meiji Restoration, 1868<br /> Welcome to the Smithsonian Institution<br /> Meiji Restoration & Birth of Tokyo<br /> Meiji ”Westernization“ Prints<br /> Views of Yokohama<br /> Portrait Of Ōkubo Toshimichi (ca. 1878)<br /> Why Do We Start with the Meiji Restoration?<br /> Day 5 Quiz - Meiji Restoration</p>
<h4></h4>
<p><b>REFERENCE: Emperors of Modern Japan (from 1867)</b><br /> REFERENCE: Emperors of Modern Japan</p>
<h4></h4>
<p><b>Day 6 - Influences</b><br /> 6 - Influences<br /> Hiroshige‘s ”100 Famous Views of Edo,“ 1856–1858<br /> Japonisme<br /> Portrait Of Ōkubo Toshimichi Revisited<br /> Competing for Customers<br /> Day 6 Quiz - Influences</p>
<h4></h4>
<p><b>Day 7 – Kiyochika’s “Famous Places of Tokyo” (1876-1881)</b><br /> 7 – Kiyochika’s “Famous Places of Tokyo” (1876–1881)<br /> Shimbashi Station (1881): a Comparison<br /> ”Shimbashi Station“ viewed at the Smithsonian<br /> Kiyochika‘s Bio<br /> Kiyochika's ”Famous Places of Tokyo“ (1876–1881) Series<br /> ”View of Takanawa Ushimachi Under the Shrouded Moon“ (1879)<br /> ”Sumida River by Night“ (1881) & ”View of Atagoyama“ (1878)<br /> Discussion - Currier & Ives and Kiyochika's Train</p>
<h4></h4>
<p><b>REFERENCE: Gallery Kiyochika “Famous Places of Tokyo”</b><br /> REFERENCE: Gallery Kiyochika ”Famous Places of Tokyo“<br /> REFERENCE: Kiyochika List of Prints</p>
<h4></h4>
<p><b>Day 8 – Night and Nostalgia</b><br /> 8 – Night & Nostalgia<br /> Night & Nostalgia<br /> The Man in the Hat<br /> Tensions Between Old & New: Nagai Kafū<br /> Complex Synergies: Natsume Sōseki<br /> Meiji Women Writers: Hasegawa Shigure<br /> Day 8 Quiz - Night & Nostalgia</p>
<h4></h4>
<p><b>Day 9 – Tokyo by Night (prints)</b><br /> 9 – Tokyo by Night (prints)<br /> ”Night at Nihonbashi“ (1881)<br /> ”Fireworks from Ikenohata“ (1881)<br /> ”Year-end Market at Sensōji“ (1881)<br /> ”Before Tarō Inari Shrine at the Asakusa Ricefields“ (1881)<br /> ”Fireflies at Ochanomizu“ (1880)<br /> ”Kudanzaka at Night in Early Summer“ (1880)<br /> ”Distant View of Ichi-no-hashi Bridge from Sumida River‘s Embankment“ (1880)<br /> ”View of Sunrise at Hyappongui in Ryōgoku, Tokyo“ (1879)<br /> Quiz and Discussion Day 9 - Tokyo by Night</p>
<h4></h4>
<p><b>Day 10 – Tokyo by Day (prints)</b><br /> 10 – Tokyo by Day (prints)<br /> ”Morning Sea at Omori“ (1880)<br /> ”Asakusa Temple in Snow“ (1880)<br /> ”Clear Weather After Snow at the Old Imperial Palace“ (1879)<br /> ”Paper Money Bureau at Tokiwabashi“ (1880)<br /> ”View from the Former Yushima Seidō“ (1879)<br /> Quiz Day 10 – Tokyo by Day</p>
<h4></h4>
<p><b>Day 11 – Doing History with Images</b><br /> 11– Doing History with Images<br /> The Original & the Digital<br /> Doing History with Images<br /> New Worlds in Visual Sources<br /> Collectors<br /> Original & Virtual Collections<br /> Modernity & Loss<br /> Quiz Day 11– Doing History with Images</p>
<h4></h4>
<p><b>Day 12 – Exhibition ”Kiyochika: Master of the Night“</b><br /> 12 – Exhibition ”Kiyochika: Master of the Night“<br /> Creating an Exhibition<br /> Nine Sections of the Exhibition<br /> ”Summer Night at Asakusa Kurama'e“ (1881)<br /> Fire Ends Kiyochika’s “100 Views”<br /> After the 100 Views<br /> Module II Wrap Up<br /> Quiz Day 12 - Exhibition</p>
<h4></h4>
<p><b>REFERENCE: Interactive Map of Tokyo</b><br /> REFERENCE: Interactive Map</p>
<h4></h4>
<p><b>REFERENCE: Woodblock Prints</b><br /> REFERENCE: Woodblock Print Styles<br /> REFERENCE: Animation Making a Woodblock Print</p>
<h4></h4>
<p><b>Day 13 – Module II Exam</b><br /> Module ll Exam</p>
<h4></h4>
<p><br /><b>Module III—Tokyo Between the Earthquake & the Bombs: Koizumi</b></p>
<h4></h4>
<p><b>Day 14 – Great Kantō Earthquake, 1923</b><br /> 14 – Great Kantō Earthquake, 1923<br /> Welcome to Module lll<br /> Great Kantō Earthquake, 1923<br /> A Fire-Cleansed Canvas<br /> Mapping & Promoting Reconstruction<br /> ”Massification“ & ”Speedo“<br /> Earthquake Documentation: Photos, Scrolls, Prints<br /> Earthquake Photography<br /> Nishimura Goun ”Kantō Earthquake Scroll“ (1925)<br /> Hiratsuka Un’ichi ”Scenes of Tokyo after the Earthquake“ (1925)<br /> Day 14 Quiz & Discussion – Earthquake Documentation</p>
<h4></h4>
<p><b>Day 15 – Divergent Print Movements</b><br /> 15 – Divergent Print Movements<br /> Shin-Hanga (New Print): Pull toward Tradition<br /> Sōsaku-Hanga (Creative Print): Pull toward Modernity<br /> “The Great Gate, Shiba, in Snow“ by Kawase Hasui<br /> “Kiyosu Bridge” by Kawase Hasui<br /> “Eitai Bridge & Kiyosu Bridge” by Koizumi Kishio, 1928<br /> Comparative Looking: Bridges<br /> Day 15 Quiz & Discussion – Tradition & Innovation</p>
<h4></h4>
<p><b>Day 16 – Koizumi's “100 Views of Great Tokyo in the Shōwa Era”</b><br /> 16 – Koizumi's “100 Views of Great Tokyo in the Shōwa Era”<br /> Koizumi's “100 Views of Great Tokyo in the Shōwa Era” (1928-1940)<br /> Koizumi: Training & Foreign Influences<br /> Koizumi: Portrait & Sketches<br /> Koizumi's Annotations<br /> Day 16 Quiz – Series Aesthetics</p>
<h4></h4>
<p><b>REFERENCE: Koizumi Gallery & Annotations</b><br /> REFERENCE: Koizumi Annotations with Images<br /> REFERENCE: Koizumi Gallery</p>
<h4></h4>
<p><b>Day 17 – Visual Narratives: 18 Pathways 18 Sites</b><span class="s1"><b> </b></span><b> </b><br /> 17 – Visual Narratives: 18 Pathways 18 Sites<br /> Visual Narratives: 18 Sites & 18 Pathways<br /> Pathway 01– Bridging the City<br /> Pathway 02 – Infrastructure<br /> Pathway 03 – Parks<br /> Pathway 06 – Women in the City<br /> Pathway 13 - Seasons<br /> Pathway 16 - Transportation<br /> Day 17 Quiz – Pathways</p>
<h4></h4>
<p><b>Day 18 – New City (prints)</b><br /> 18 – New City (prints)<br /> ”Hibiya Park with Fresh Leaves & Azalea Blossoms (#5),“ July 1930<br /> ”Night View of Ginza in the Spring (#12a)“ & Discussion: Ginza at Night<br /> ”Vegetable Market at Kanda (#16)“<br /> ”Yamashita Entrance to Ueno Park (#17)“<br /> ”May Sports Season (#27)“<br /> ”Meteorological Observatory (#41)“<br /> Day 18 Quiz – New City, Discussion - Ginza</p>
<h4></h4>
<p><b>Day 19 – City Infrastructure (prints)</b><br /> 19 – City Infrastructure (prints)<br /> ”New Kachidoki Bridge (#20-revised)“<br /> ”View of Sunamachi (Jōtō Ward) (#54)“<br /> Mitsui Bank & Mitsukoshi Department Store (#3)<br /> ”New Diet Building (#45)“<br /> The Imperial Presence (prints & reading)<br /> ”Snow at Sakurada Gate (#75)“<br /> Day 19 Quiz - City Infrastructure</p>
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<p><b>Day 20 – Militarism (prints)</b><br /> 20 – Militarism (prints)<br /> ”Senju Town with Storage Tanks (#4)“<br /> ”Snow Covered Meiji Shrine Bridge at Dawn (#09)“<br /> ”Army Firing Range in the Fields of Toyama [Ōkubo] (#93)“<br /> ”The Third Regiment Headquarters at Azabu (#26)“<br /> ”Battery at Shinagawa (Fort in Edo Era) (#67)“<br /> Module III Wrap-Up<br /> Day 20 Quiz - Militarism</p>
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<p><b>Day 21 – Module III Exam</b><br /> Module lll Exam</p>
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<p><br /><b>Module IV—Tokyo Modern: 100 Views by 8 Artists</b></p>
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<p><b>Day 22 – 8 Artists 100 Views (1928-1932)</b><br /> 22 – 8 Artists ”100 Views of New Tokyo“ (1928-1932)<br /> “100 Views of New Tokyo“ (1928-1932) by 8 Artists<br /> Woodblock Prints & the West<br /> ”Movie Theater (#29),“ 12/1/1929, by Onchi Kōshirō<br /> Tokyo Boogie-Woogie: Web of Mass Media<br /> “Tokyo March” Film, Song, Novel<br /> Filmmakers: Mizoguchi, Ozu, Kurasawa<br /> Gallery & Discussion: Signature Graphic</p>
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<p><b>Day 23 – Night Life, Café Culture (prints)</b><br /> 23 – Night Life, Café Culture (prints)<br /> “Hibiya Open Air Music Hall (#33),“ 11/1/1930, by Onchi Kōshirō<br /> “Dance Hall Scene (#30),“ 3/1/1930, by Onchi Kōshirō<br /> “Asakusa Park, Casino Follies (#69),“ 6/1/1930, Kawakami Sumio<br /> “Café District in Shinjuku (#83),“ 10/1/1930, by Fukazawa Sakuichi<br /> ”Ginza (#65),“ 8/7/1929, Kawakami Sumio<br /> ”Inside the Department Store (#67),“ 4/1/1930, Kawakami Sumio<br /> Day 23 Quiz: Night Life, Café Culture</p>
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<p><b>Day 24 – Speed (prints)</b><br /> 24 - Speed (prints)<br /> ”Subway (#11),“ 1931, Maekawa Senpan<br /> ”Mitsubishi in Marunouchi (#92),“ 12/1/1929, by Suwa Kanenori<br /> ”Rising Sun Shell, Showa Street (#84),“ 6/1/1930, by Fukazawa Sakuichi<br /> ”Meiji Baseball Stadium (#86),“ 12/1/1931, by Fukazawa Sakuichi<br /> Similar Views: Koizumi and 8 Artists<br /> Module IV Wrap Up<br /> Day 24 Quiz & Discussion: Speed</p>
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<p><b>REFERENCE: Gallery 8 Artists 100 Views</b><br /> REFERENCE: Gallery – 8 Artists 100 Views<br /> REFERENCE: Similar Views, Koizumi & the 8 Artists</p>
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<p><b>Day 25 – Module IV Exam</b><br /> Module lV Exam</p>
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<p><br /><b>Module V—Conclusion</b></p>
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<p><b>Day 26 – Conclusion</b><br /> 26 – Conclusion<br /> Westernization & Modernization<br /> ”Tokyo Rhapsody“: a Popular Song<br /> Tokyo as the Imperial Capital<br /> World War II and Aftermath<br /> More ”100 Views“ Series . . .</p>
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<p><b>VTx Final Exam</b></p>
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<p><b>Day 27 - VTx Final Exam</b><br /> VTx Final Exam</p>
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<p><b>Exit Survey (please complete)</b></p>
<p>Exit Survey & Final Remarks</p>
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<p><b>REFERENCE: Bibliography, Syllabus, Faculty & Credits</b></p>
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<p><a href="https://courses.edx.org/assets/courseware/v1/b943aecf6f85e6056de690d9fe26ce8e/asset-v1:MITx+VTx+1T2019+type@asset+block/VTx-syllabus.pdf" target="_blank" style="color: #0075b4; font-stretch: inherit; line-height: inherit; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; text-decoration: none; transition: all 0.1s linear 0s;">Syllabus in PDF format: click here.</a></p>
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<h2 class="hd hd-2 unit-title">Faculty & Credits</h2>
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<h2><img src="https://files.edx.org/vjx/VJx_prof_portrait_Dower_John_W_335h.jpg" alt="" type="saveimage" target="[object Object]" preventdefault="function (){i.isDefaultPrevented=n}" stoppropagation="function (){i.isPropagationStopped=n}" stopimmediatepropagation="function (){i.isImmediatePropagationStopped=n}" isdefaultprevented="function t(){return!1}" ispropagationstopped="function t(){return!1}" isimmediatepropagationstopped="function t(){return!1}" width="257" /></h2>
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<h2>John W. Dower</h2>
<p>John W. Dower is a Professor Emeritus at the Massachusetts Institute of Technology and co-founder, in 2002, of the MIT Visualizing Cultures project, a website that breaks new ground in the scholarly use of visual materials to reexamine the experience of Japan and China in the modern world. As of 2014, eleven of the presentations on this multi-unit site were authored by him. Dower’s 1999 book <em>Embracing Defeat: Japan in the Wake of World War II</em> won the U.S. National Book Award for Nonfiction, the Pulitzer Prize for General Nonfiction, the Bancroft Prize, the Los Angeles Times Book Prize, the Mark Lynton History Prize, and the John K. Fairbank Prize of the American Historical Association. Dower earned a bachelor's degree in American Studies from Amherst College in 1959, and a Ph.D. in History and Far Eastern Languages from Harvard University in 1972. His many other publications include a study of mutual images during World War II entitled <em>War Without Mercy: Race and Power in the Pacific War</em>. Dower was the executive producer of the Academy Award-nominated documentary <em>Hellfire: A Journey from Hiroshima</em>. He has taught at the University of Wisconsin–Madison and the University of California-San Diego. He has been a fellow of the American Academy of Arts and Sciences since 1991, and was honored with the American Historical Association's "Award for Scholarly Distinction" in 2013.</p>
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<h2>James T. Ulak</h2>
<p>James T. Ulak is the President, United States – Japan Foundation, and former long-time Senior Curator <span style="line-height: 1.6;">of Japanese Art</span><span style="font-size: 1em; line-height: 1.6em;">, Freer-Sackler Gallery, Smithsonian Institution. A specialist in the history of narrative painting production in fourteenth- and fifteenth-century Japan, James Ulak received his PhD from Case Western Reserve University (Cleveland, Ohio) in 1994. In 1995, Ulak joined the staff of Freer|Sackler as curator of Japanese art (1995–2003). He has also held the positions of head of collections and research and chief curator (2002–3) and deputy director (2003–10). In addition to his interest in medieval Japanese narrative painting, Ulak has written on eighteenth-century “eccentric” painters and on Japan’s artistic encounters with modernity in the late nineteenth and early twentieth centuries. He has developed and produced numerous exhibitions, often in conjunction with Japan’s Agency for Cultural Affairs. Recent examples include <em>Masters of Mercy: The Buddha’s Amazing Disciple</em>s (2012); <em>Kiyochika: Master of the Night</em> (2014); and in partnership with the Japan Foundation, <em>Sōtatsu: Making Waves</em> (2015–16).<br /></span></p>
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<td><img src="/assets/courseware/v1/c103490b3a7846c711ab41f61660ae67/asset-v1:MITx+VTx+1T2019+type@asset+block/Nagahara.jpeg" alt="Hiromu Nagahara" width="257" height="336" /></td>
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<h2>Hiromu Nagahara</h2>
<p>Hiromu Nagahara is Associate Professor of History at the Massachusetts Institute of Technology. Nagahara studies the history of modern Japan, with a focus on the politics of art and culture since the nineteenth century. He is the author of <em>Tokyo Boogie-Woogie: Japan's Pop Era and Its Discontents</em> (Harvard University Press, 2017), which highlights the public controversies that engulfed the popular songs that were produced by Japan's music industry since the late 1920s and their connections to Japan's emergence as a mass-consumer, middle-class society. His current research project explores the cultural history of modern Japanese diplomacy by looking at how artistic and other pursuits of 'play' enable members of Japan's ruling elite to join larger networks of global elites in cities like London, Paris, and Shanghai during the decades preceding World War II. He is currently a Visiting Fellow at Wellesley College's Newhouse Center for the Humanities.</p>
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<td><img src="/assets/courseware/v1/3c936d50750a2149f8d4939e015fd073/asset-v1:MITx+VTx+1T2019+type@asset+block/elle_6925_2019-06-22_H-McCune_flower_257x336.jpg" alt="Ellen Sebring" width="257" height="336" type="saveimage" target="[object Object]" preventdefault="function (){r.isDefaultPrevented=n}" stoppropagation="function (){r.isPropagationStopped=n}" stopimmediatepropagation="function (){r.isImmediatePropagationStopped=n}" isdefaultprevented="function t(){return!1}" ispropagationstopped="function t(){return!1}" isimmediatepropagationstopped="function t(){return!1}" /></td>
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<h2>Ellen Sebring</h2>
<p>Ellen Sebring, artist, designer, and media researcher, has been the Creative Director of the Visualizing Cultures (VC) project at the Massachusetts Institute of Technology since the project’s founding in 2002, and has contributed essays on the visual culture of the Boxer Uprising in China in 1900. Her first book, <em>Centerbook: The Center for Advanced Visual Studies and the Evolution of Art-Science-Technology at MIT</em>, was released fall 2019 (SA+P Press and ZKM Karlsruhe, distributed by MIT Press). <span style="font-size: 1em;">Sebring was a Fellow at MIT’s Center for Advanced Visual Studies (CAVS) for six years, and Post-Doctoral Associate at Duke University. She earned the PhD at the Centre for Advanced Inquiry in the Integrative Arts (CAiiA), Plymouth University in the UK, and the Master of Science in Visual Studies (SMVisS) at MIT. She was Lead Content Developer for all three of Visualizing Cultures' MITx online courses: the award-winning <em>Visualizing Japan (1850s-1930s): Westernization, Protest, Modernity</em> (VJx); and also as instructor in both <em>Visualizing Imperialism and the Philippines</em> (VPx), and this course, <em>Visualizing the Birth of Modern Tokyo</em> (VTx), for which she wrote the online content. Sebring’s research in “visual narrative” asks how history transforms in a digital/visual age, and investigates the syntax of images as new grammatical elements emerging from the mass digitization of archives opening a global portal to the past.</span></p>
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<h2>Shigeru Miyagawa (Introduction)</h2>
<p>Professor Miyagawa provides a brief opening introduction to the course.</p>
<p>Miyagawa is Senior Associate Dean for Open Learning at MIT. He was on the original MIT committee that proposed OpenCourseWare, and was the Chair of the MIT OpenCourseWare Faculty Advisory Committee, 2010 - 2013. He co-founded and co-directs the Visualizing Cultures project with historian, John W. Dower. With John Dower, Andrew Gordon of Harvard, and Gennifer Weisenfeld of Duke, he created Visualizing Japan (VJx), a Harvard-MIT MOOC offered by edX that has has attracted over 15,000 learners world-wide. Visualizing Japan was a Finalist for the prestigious Japan Prize in 2015. He is also Executive Producer of the multimedia program, StarFestival, which stars George Takei as the voice of the main character. StarFestival was awarded the Distinguished Award at the Multimedia Grandprix 2000 (Japan). Between February 2014 and February 2019, he served as Project Professor and Director of Online Education for the University of Tokyo as a joint appointment with MIT. As a professor of linguistics, he has published several books, including two recent ones from the MIT Press, and over sixty articles. He has recently developed a theory of language evolution that hypothesizes that human language arose from the integration of two pre-existing systems in nature, one seen in birdsong, the other in primate alarm calls. For his work in technology and education, he has been recognized with the Irwin Sizer Award For the Most Significant Improvement to MIT Education, and “Shapers of the Future” by the educational technology magazine <em>Converge</em>. In linguistics, he is the author of <em>Case, Argument Structure, and Word Order</em>, Leading Linguists Series (Routledge, 2012), <em>Why Agree? Why Move? Unifying Agreement-based and Discourse Configurational Languages</em>, published by MIT Press (2010), and co-editor of <em>Oxford Handbook of Japanese Linguistics</em> published by the Oxford University Press (2008), along with over fifty articles on various linguistics topics. He received his B.A. from the International Christian University in 1975 and his Ph.D. from the University of Arizona in 1980.</p>
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<h3>Course Team:</h3>
<p><strong>Ellen Sebring</strong> was the Lead Content Developer for VTx, and wrote the online course structure and content. The script was developed in collaboration with <strong>John W. Dower</strong>.</p>
<p><strong>Sylvia Morrison</strong> was the Video Producer for VTx. She is an independent video producer and editor specializing in educational content. Her company, Mystic River Video, produced rare documentations of the work of the famous Yoga master, B.K.S. Iyengar, including his 75th birthday celebration in India. Morrison also carries on a family tradition, distributing a unique collection of popular classic train films produced by her father for their company, Sunday River Productions. </p>
<p><strong>Andrew Burstein</strong> was the interactive designer/coder for VTx. Burstein became a member of the MIT Visualizing Cultures team in 2003. As well, he has produced, w<span style="line-height: 1.6;">ith many others,</span><span style="font-size: 1em; line-height: 1.6em;"> multimedia content for consumer goods, industry trade shows, and </span><span style="font-size: 1em; line-height: 1.6em;">corporate</span><span style="font-size: 1em; line-height: 1.6em;"> gatherings</span><span style="font-size: 1em; line-height: 1.6em;">. </span></p>
<p><strong>Emma Rose</strong> provided additional video editing and image research. She is a graduate of Barnard College, and works in video production in New York City.</p>
<p><strong>Julieta Cristina Aguilera-Rodríguez</strong> and <strong>Josh Widdicombe</strong> each visited and provided on site photographs of the exhibition "One Hundred Views of Tokyo: Message to the 21st Century" exhibition, Art Institute of Chicago, September 21 - December 8, 2019, for use in the Conclusion of VTx.</p>
<p>Additional support was provided by MITx administrative and technical teams. </p>
<p>This ”Visualizing the Birth of Modern Tokyo“ MOOC builds on the <a href="http://visualizingcultures.mit.edu/" target="[object Object]">MIT Visualizing Cultures project,</a> which received generous funding from the Andrew W. Mellon Foundation, Henry Luce Foundation, the Getty Foundation, Japan Foundation's Council for Global Partnership, National Endowment for the Humanities, and MIT's d'Arbeloff Fund for Innovation in Undergraduate Education and MIT Microsoft-funded iCampus project.</p>
<h3>Image Credits:</h3>
<p><span style="font-size: 15.5555562973022px; line-height: 25.6000003814697px;">Whereas many of the images themselves are licensed under the </span><a href="http://creativecommons.org/licenses/by-nc-sa/2.5/" target="[object Object]" style="font-size: 15.5555562973022px; line-height: 25.6000003814697px;">CC BY NC SA </a><span style="font-size: 15.5555562973022px; line-height: 25.6000003814697px;">license, the other course content and materials remain subject to the Edx </span><a href="https://www.edx.org/edx-terms-service" target="[object Object]" style="font-size: 15.5555562973022px; line-height: 25.6000003814697px;">Terms of Service</a><span style="font-size: 15.5555562973022px; line-height: 25.6000003814697px;">.</span></p>
<p><strong>Arthur M. Sackler Gallery, Smithsonian Institution</strong><br /> <a href="http://www.asia.si.edu">http://www.asia.si.edu</a></p>
<p><strong>Carnegie Museum of Art</strong></p>
<p><strong> Honolulu Academy of Arts<br /></strong><a href="http://www.honoluluacademy.org" target="[object Object]">http://www.honoluluacademy.org</a></p>
<p><strong>Hood Museum of Art, Dartmouth College<br /></strong><a href="http://hoodmuseum.dartmouth.edu" target="[object Object]">http://hoodmuseum.dartmouth.edu<br /></a></p>
<p><strong>Museum of Fine Arts, Boston<br /></strong><a href="http://www.mfa.org" target="[object Object]">http://www.mfa.org</a></p>
<p><strong>Peabody Essex Museum<br /></strong><a href="http://pem.org/homepage/index.php" target="[object Object]">http://pem.org/homepage/index.php</a></p>
<p><strong>Ryosenji Treasure Museum<br /></strong><a href="http://www.izu.co.jp/~ryosenji/eigo.html" target="[object Object]">http://www.izu.co.jp/~ryosenji/eigo.html</a></p>
<p><strong>Shiseido Corporation<br /></strong> <a href="http://www.shiseidogroup.com/">http://www.shiseidogroup.com/<br /></a><strong><br />Smith College Museum of Art<br /></strong><a href="http://www.smith.edu/artmuseum/index.htm" target="[object Object]">http://www.smith.edu/artmuseum/index.htm<br /><br /></a></p>
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