565:320/195:322 “The Samurai Tradition in Japanese Literature and Film”
Rutgers University
Spring 2009
Syllabus
Instructor
Professor Paul Schalow
Office: Scott Hall Rm. 325
Office Hour: Mon. & Thurs. 11:15-12:15
Tel. 732-932-5591 (leave message)
e-mail:
Description
The course explores the literary and philosophical traditions of the samurai warrior in Japanese history and the ongoing meaning of those traditions in contemporary Japanese culture. There will be analysis and discussion of literary works, texts on swordsmanship, documentaries, and films. All readings are in English translation.
A one-page Response is due for each reading. Response sheets turned in on the day of the assigned reading earn 1 or 2 points, depending on my assessment of how well you have grasped the main points in the reading; late submissions not accepted. A short five-page paper on an assigned topic is due at the end of each unit.
Final grade based on 15 response sheets (30%), three 5-page papers (20% each), attendance (10%).
Required Texts for purchase at Rutgers Bookstore or Jersey Books.
- Hiroaki Sato, Legends of the Samurai (Overlook Press, 1995)
- Donald Keene, Chūshingura: The Treasury of Loyal Retainers (Columbia, 1971)
- Miyamoto Musashi, The Book of Five Rings (Shambhala Classics, 2000)
Schedule
Unit 1—The Akō Vendetta
Jan. 22 (first class) Introduction to the course. Film: “Secrets of the Samurai” (Discovery Channel, 2003) 26 mins.
26 Sato, Legends of the Samurai “Yamamoto Tsunetomo: Hagakure (Hidden in Leaves)” pp. 287-303. Due: Response #1
29 Sato, Legends of the Samurai, “The Forty-Seven Samurai: An Eyewitness Account” pp. 304-321. Due: Response #2
Feb. 2 Film clip: The sword wound--Asano’s attack on Kira in the shōgun’s court.
“Chushingura: The Loyal 47 Retainers” (Chūshingura, 1962) dir. Inagaki; and “The 47 Rōnin” (Genroku Chūshingura, 1941) dir. Mizoguchi. In class: Response #3.
5 Sato, Legends of the Samurai, “The Forty-Seven Samurai: Arguments” pp. 322-338. Due: Response #4
9 Film clip: The raid—the night assault on Kira’s mansion and the taking of the head. “Chushingura” dir. Inagaki; and “The 47 Rōnin” dir. Mizoguchi. In class: Response #5.
12 Sato, Legends of the Samurai, “Kō no Moronao: When a Warrior Falls in Love,” pp. 188-203. Due: Response #6
16 Keene, Chūshingura: Treasury of Loyal Retainers pp. 1-180, Acts 1-11 (focus on Acts 4 & 7). Response #7
19 First 5-page paper due. Topic: Discuss the Akō Vendetta in terms of the samurai concept of dying with honor. Explain how competing allegiances made it difficult to determine what constituted an “honorable” death in this case. Discuss how the vendetta was dramatized differently in the puppet theater (1748) and in films by Mizoguchi (b&w, 1941) and Inagaki (color, 1962). Give specific examples from readings and films to support your discussion.
Film: “Yukio Mishima: Samurai Writer” (BBC, 1985). In class: Response #8
Unit 2—Warriors and Warfare
23 Sato, Legends of the Samurai, “Raikō and Others: Tales of Archery”-“Minamoto no Yoshiie: The Samurai of the Greatest Bravery under Heaven” pp. 80-109. Due: Response #9
26 Sato, Legends of the Samurai, “Minamoto no Yoshitsune: A Hero Hounded” pp. 110-156. Response #10
Mar. 2 Film: “Men Who Tread On the Tiger’s Tail” (Tora no o wo fumu otoko, 1945) dir. Kurosawa (60 mins.) In class: Response #11
5 Sato, Legends of the Samurai, “Kusunoki Masashige: A Guerrilla of Unflinching Loyalty” pp. 157-187. Response #12
9 Hiroaki Sato, Legends of the Samurai, “Takeda Shingen and Uesugi Kenshin: Two Warlords” pp. 204-231. Response #13
12 Film: “Samurai Banners” (Fūrin kazan, 1969) dir. Inagaki.
[ Mar. 14-22 SPRING RECESS]
23 Sato, Legends of the Samurai “Miyamoto Musashi: Gorin no Sho (Book of Five Elements)” pp. 254-272; and Miyamoto Musashi, The Book of Five Rings pp. 3-62. Response #14
26 Film: “The Duel at Ganryū Island” (Samurai Trilogy III, 1956) dir. Inagaki.
30 Yagyū Munenori, The Book of Family Traditions on the Art of War, pp. 65-111 (in The Book of Five Rings). Response #15
Apr. 2 Second 5-page paper due. Topic: Choose one of the samurai figures from Unit 2 and describe how he is depicted in literature and/or film. Discuss what deeds or accomplishments made him a legend and what aspects of his character or thought contributed to his fame. Address the ways that literary or cinematic depictions may differ from the historical facts. Give specific examples from readings and/or films to support your discussion.
Unit 3—The Ethical Use of the Sword
6 The sheathed sword. Film: “Sanjūrō” (Tsubaki Sanjūrō, 1962) dir. Kurosawa (96 mins.)
9 “Sanjūrō” cont.
13 False honor and the inhumane use of the sword. Film: “Harakiri” (Seppuku, 1962) dir. Kobayashi (134 mins.)
16 “Harakiri” cont.
20 Nonviolence in the face of violence. Film: “Samurai Fiction” (1998) dir. Nakano (111 mins.)
23 “Samurai Fiction” cont.
27 Competing allegiances to family, clan, fief, and shōgun. Film: “Twilight Samurai” (Tasogare Seibei, 2002) dir. Yamada (129 mins.)
30 “Twilight Samurai” cont.
May 4 (last class) Final 5-page paper due. Topic: Select one of the samurai films studied in Unit 3 and discuss the depiction of its central figure in detail. What does the film have to say about the ethical use of the sword? Be attentive in your analysis to the ways in which the film is set in the past but in fact serves as a critique of today’s ethical concerns. You must discuss the hero you choose in relation to one other hero from the films viewed in class.