Soseki Natsume, Kokoro (1914); Lu Xun, “Remembrances of the Past” (1911), “Diary of a Madman” (1918), and “Ah Q—The Real Story” (1921); Jun’ichiro Tanizaki, Naomi (1924-5).

Topics (At the beginning of your paper, please indicate which topic you chose)

1) Soseki Natsume, Kokoro (1914); Lu Xun, “Remembrances of the Past” (1911), “Diary of a Madman” (1918), and
“Ah Q—The Real Story” (1921); Jun’ichiro Tanizaki, Naomi (1924-5).

The 1910s and the 1920s were a tumultuous time for China and Japan. Both countries experienced significant
changes internally and faced unfamiliar challenges externally as they rebuild themselves into modern nations.
From different angles, we discussed how the works of Soseki Natsume, Lu Xun, and Jun’ichiro Tanizaki relate to
the emergence of the nation-state system. Choose one (or more) work by Lu Xun and another by either Soseki or
Tanizaki, and discuss how each work responds to the condition of their respective nation. What kind of place do
the two works describe the nation to be? What are the similarities and differences in their treatments of the
nation?
2) Tatsuhiro Oshiro, “Cocktail Party (1967); Pak Won-su, The Naked Tree (1970).

After the Second World War, United States’ presence in East Asia became pronounced largely due to the Cold War.
Diplomatic, economic, and military relations with the U.S. had both obvious and subtle impacts on East Asian
societies. Intellectuals and artists often addressed the complex relationship with the U.S. in their creative
works. Compare and contrast Oshiro’s and Pak’s works and discuss how they respond to the presence of the U.S.
military in East Asia. Given the historical, geographical, and political differences between Korea and Japan in  the postwar context, do the two works have different relationships with the U.S.? Where do you find commonality  between the two works?

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