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Faculty
Profiles |
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JINSOO AN (Korean Program)
Jinsoo An, assistant professor, received his M.A. and Ph.D. from the Dept. of Film and Television at UCLA with his dissertation on post-war Korean cinema and national identity. He continued his research on Korean cinema and culture at the Dept. of East Asian Studies of NYU (2004-2006) as a post-doctoral fellow and lecturer and taught atthe School of Design and Media of Hongik University (2006-2010) in Korea before moving to Berkeley. He has written on topics related to Korean cinema including representation of Christianity, nationalism, historical drama, popular justice and legal formalism and cult film aesthetics. His current project focuses on representation of the colonial past as knowledge production and cultural imagining in South Korean cinema. |
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ROBERT
ASHMORE (Chinese Program)
Robert Ashmore, Associate
Professor, received his M.A. in classical Chinese literature
from Beijing University in 1992, and continued his graduate studies
in the department of East Asian Languages and Civilizations at
Harvard University, where he received his Ph. D. in November,
1997. His research focus is on Chinese literature of the third
through eleventh centuries, with special interests in lyric poetry
and poetic theory, song and musical performance, and traditional
concepts of identity and personality. He is currently completing
work on a book manuscript on the literary culture of the early
ninth century. |
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MARK CSIKSZENTMIHALYI (Chinese Program)
Mark Csikszentmihalyi, Professor, has an AB in East Asian Languages and
Civilizations (Harvard) and a Ph.D in Asian Languages (Stanford). He uses
both excavated and transmitted texts to reconstruct the religions,
philosophies, and cultures of early China. Recent books include Material
Virtue: Ethics and the Body in Early China (2004) and Readings in Han
Chinese Thought (2006). He is currently translating a set of Song dynasty
essays on the Zhuangzi. He is Editor of the Journal of Chinese Religions. |
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JACOB DALTON (Buddhist Studies)
Assistant Professor Jacob Dalton received his B.A. (Religious
Studies) from Marlboro College, and his M.A. and Ph.D.
(Buddhist Studies) from the University of Michigan.
After working for three years (2002-05) as a researcher
with the International Dunhuang Project at the British
Library, he taught at Yale University (2005-2008) before
moving to Berkeley. He works on Nyingma religious history,
tantric ritual, paleography, and the Dunhuang manuscripts.
He is the author of a forthcoming study on violence
and the formation of Tibetan Buddhism, and co-author
of Tibetan Tantric Manuscripts from Dunhuang: A
Descriptive Catalogue of the Stein Collection at the
British Library (Brill, 2006). He is currently working on a history
of Tibetan Buddhism, as seen through the eyes of the "Sutra Empowerment" (Mdo
dbang) tradition of the Nyingma school. Future plans
include a study of tantric ritual in the Dunhuang manuscripts. |
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YOKO HASEGAWA (Japanese Program)
Yoko Hasegawa, Professor, received her Ph.D. in Linguistics from UC Berkeley in 1992.
She teaches Japanese Linguistics and serves as Coordinator of the Japanese Language Program.
Her publications include: Japanese: A Linguistic Introduction (Cambridge University Press,
forthcoming),
The
Routledge Course in Japanese Translation (Routledge, 2011),
Soliloquy
in Japanese and English (John Benjamins, 2010),
Nihongo kara mita nihonjin: Shutaisei
no gengogaku (with Y. Hirose, Kaitakusha, 2010),
Elementary
Japanese (with W. Kambara, N. Komatsu, Y. Konno Baker, K. Nonaka, C. Shibahara, M.
Tomizuka, K. Yamaguchi, Tuttle, 2005-2006),
A Study of Clause Linkage:
The Connective -TE in Japanese (CSLI, Stanford University & Kurosio Publishers, 1996). [HOMEPAGE]
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H.
MACK HORTON (Japanese Program)
H.
Mack Horton, Professor, teaches premodern Japanese language
and literature. He received
his M.A. in 1981 from Harvard University and his Ph.D. in 1989
from University of California, Berkeley. Professor Horton specializes
in classical poetry and diary literature, focusing on issues
of performativity, cultural context, and poetics. He is the author
of Song
in an Age of Discord: The Journal of Sôchô and
Poetic Life in Late Medieval Japan (Stanford University
Press, 2002), its companion volume The
Journal of Sôchô (Stanford
University Press, 2002), and the forthcoming Traversing the
Frontier: The Man'yôshû Account of a Japanese Mission to Silla in 736-37 (Harvard University Asia Center). He is also the translator of ten books on Japanese literature, history, and architecture. Chair of the department from 2003-06, Professor Horton received Berkeley's Distinguished Teaching Award in 2004. |
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ANDREW
F. JONES (Chinese Program)
Andrew F. Jones, Professor and Louis B. Agassiz Chair in Chinese, received his Ph.D. from the University of California, Berkeley, in 1997. Professor Jones teaches modern Chinese literature and media culture. His research interests include music, cinema, and media technology, modern and contemporary fiction, children's literature, and the cultural history of the global 1960s. He is the author of Like a Knife: Ideology and Genre in Contemporary Chinese Popular Music (Cornell East Asia Series, 1992) and Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age (Duke University Press, 2001), co-editor of a special issue of positions: east asia cultures critique entitled The Afro-Asian Century, and translator of literary fiction by Yu Hua as well as Eileen Chang's Written on Water (Columbia University Press, 2005). His latest books are Developmental Fairy Tales: Evolutionary Thinking and Modern Chinese Culture (Harvard University Press, 2011), and a volume co-edited with Xu Lanjun, 儿童的发现 — 现代中国文学及文化中的儿童问题 [The Discovery of the Child: the Problem of the Child in Modern Chinese Literature and Culture], (Peking University Press, 2011).
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D.
CUONG O'NEILL (Japanese Program; Head Graduate Advisor)
Associate Professor D. Cuong O'Neill completed his Ph. D. from Yale University in Japanese Literature in 2002. He teaches courses in Meiji print culture and literature, Taishô aesthetics, and postwar intellectual history and popular culture. His research interests include the novel in comparative perspective, global modernisms, and critical theory (particularly in relation to affect and aesthetics). Recent and forthcoming publications include a study of Mori Ôgai and the bildungsroman (Japan Forum, 2006), an analysis of Natsume Sôseki’s theory of tragic pleasure (Discourse, 2008), and a book chapter on the memories of moving bodies in Tsai Ming-liang’s Goodbye Dragon Inn (I. B. Tauris, 2009). He is currently completing a book titled Ghostly Remains: Affect and the Afterlife of Reading in Modern Japan. |
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ROBERT
SHARF (Buddhist Studies)
Professor Robert Sharf received his B.A. (Religious
Studies) and M.A. (Chinese Studies) from the University of Toronto
and his Ph.D. (Buddhist Studies) from the University of Michigan.
He taught at McMaster University (1989-95) and the University
of Michigan (1995-2003) before joining the Berkeley faculty.
He works primarily in the area of medieval Chinese Buddhism (especially
Chan), but he also dabbles in Japanese Buddhism, Buddhist art,
ritual studies, and methodological issues in the study of religion.
He is author of Coming
to Terms with Chinese Buddhism: A Reading of the Treasure Store
Treatise (2002), co-editor of Living
Images: Japanese Buddhist Icons in Context (2001), and
is currently working on a book tentatively titled How to
Read a Zen Koan. In addition
to his appointment in EALC he serves as Director of the Group in Buddhist Studies, Director of Religious Studies, and Chair of the Center for Buddhist Studies. |
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ALAN
TANSMAN (Department Chair)
Professor
Alan Tansman earned his A.B. from Columbia University in East
Asian Studies, his M.S.J. from the School
of Journalism at Columbia,and the M.A., M. Phil, and Ph.D. from
Yale University in Japanese literature. His specialization is
modern Japanese literature and culture. He is the author of The
Writings of Kôda Aya (Yale) and the forthcoming The
Culture of of Japanese Fascism (Duke), and The Aesthetics
of Japanese Fascism (California). He is now
writing a book comparing Japanese and Jewish responses
to atrocity, is co-editor of Studies
in Modern Japanese Literature and the forthcoming Tokyo
as an Idea: Isoda Kôichi's Essays on Literature and Space (California).
In addition to literature, Professor Tansman has published on
topics including Japanese cultural criticism, popular culture,
film, Area Studies, Japanese and Jewish responses to atrocity,
and the sublime in Japanese literature.
He has also translated Japanese fiction and criticism. |
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PAULA
VARSANO (Chinese Program)
Paula Varsano, Associate Professor, received her B.A. in Chinese
Language and Literature in 1980 from Yale College and her Ph.D.
from Princeton University in 1988. Professor Varsano specializes
in classical poetry and poetics from the third through the eleventh
centuries, with particular interest in literature and subjectivity,
the evolution of spatial representation in poetry, the history
and poetics of traditional literary criticism, and the theory
and practice of translation. She is the author of Tracking
the Banished Immortal: The Poetry of Li Bo and its Critical Reception (Hawaii,
2003), and is currently at work on a book tentatively titled
Coming to Our Senses: Locating the Subject in Traditional
Chinese Literary Writing. |
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SOPHIE
VOLPP (Chinese Program and Comparative Literature)
Sophie Volpp, Associate Professor, received her
Ph.D. from the Department of East Asian Languages and Civilizations
at Harvard in 1995. She specializes in Chinese literature of
the seventeenth through nineteenth centuries. Research interests
include the history of performance, gender theory, the history
of sexuality, and the representation of material culture. Her
book Worldly Stage: Theaticality in Seventeenth-Century China (Harvard) concerns the
ideological niche occupied by the theater in seventeenth-century
China. Her
current research examines the depiction of material objects in
late-imperial literature, focusing on the relation between the
representation of objects and the representation of the self.
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