Keio University

This is a survey course introducing students to the field of pragmatics. There are no prerequisites except for curiosity about how we communicate using words. Pragmatics is the study of how we use language to make and interpret meaning beyond the literal meaning inherent to the words we use. For instance, “You can swim” can mean that “you’re allowed to swim,” that “you have the ability to swim” or that “swimming is one way for you to get to some destination.” For any given utterance of this, we infer the intended meaning based on the meaning of the words, our common world knowledge, the context, and speaker and hearer intentions. An aim of pragmatics is to give an explicit, systemic account of this process.
 

The first 10 class meetings will introduce 9 representative areas of inquiry in pragmatics research. Students will gain an understanding of fundamental linguistics terminology and acquire the skills to make explicit analyses of language in use. Although the examples discussed in the textbook are mostly from English, students will be encouraged to apply the concepts to their native language during class discussions. The 11th class meeting will review a real research paper in pragmatics chosen based on the class members' interests.

Additionally, students will be required to write a paper about a pragmatics theme of their choice, using data from Japanese or some other language, of between 1000-2000 words. In the last 3 classes, students will present an outline of the research themes they have chosen to write about in their term papers.

This course is designed for students who have had some experience learning Japanese. It focuses on the acquisition of grammar and sentence patterns based on the textbook, Elementary Japanese for Academic Purposes, Tomodachi Vol.1 (Lesson 7 to 12), and provides comprehensive practice in the four skills. 

The goal of this workshop is to give students a firm grounding in cultural, social, historical, and practical aspects of art in contemporary Japan through diverse activities including workshops, field trips and research.

We have various images of how the ideal human being should live. This course seeks to answer this question from a philosophical point of view through various philosophical methods.
 

There are two notable features in this course. First, the course attempts to use the images of ideal human beings taken both from western culture and Japanese culture, highlighting similarities and differences that transcend the difference of cultural background. In doing so, the course engages participants to seek what their ideal human being looks like.

Second, the course will utilize classical philosophy texts such as Descartes’s and Kant’s philosophy texts, but also Muneyoshi Yanagi’s writings on the works of Japanese folk art (Mingei) and Kenji Miyazawa’s poem.

This course addresses the following topics:

1. Rationality and intellect as an ideal capacity for human beings
2. Anti-intellectualism and its problems
3. Beauty and the image of ideal human beings

This course examines the traditional arts of humor between the 17th and 19th centuries. Selections were chosen based on the connection between images and words. These include pictures, gesaku (popular fiction written in the mid-18th century), and short novels. 

Until the recent past, science and food were a combination to be encountered mainly in the food industry. Today, things are changing and we are witnessing a great deal of emerging new scientific ideas about how we (humans) relate to food: neuroscientists trying to understand how our brain creates flavors; physicists attempting to manipulate textures; talented haute-cuisine chefs aiming at creating startling multi-sensorial experiences.

Despite the scientific complexities, cooking is a simple endeavor that can be carried out by anyone. You can open a recipe book, get the ingredients and follow the instructions: a method that is easy to follow, but certainly not the whole story towards culinary success.

Every time you follow a recipe and prepare your favorite food, you are, in effect, performing a scientific experiment. You put matter together, modify the initial structure (for example, texture, flavor, etc.) by means of physical and chemical processes, and evaluate (by eating) the result of the experiment, possibly trying to understand what modifications can improve the result. The "experiment" can be a success or a failure, but understanding the science can increase the chances of success. Viewed like this, the kitchen becomes a science laboratory and cooking an experimental science.

This course embarks on a study of food and science (physics in particular) that is both entertaining and useful. The course explores the new dimension that opens up when the two areas fuse and how this combination can be used to boost creativity as well as critical thinking.

Part 1 of the course (Spring semester) focuses on basic notions such as the properties of food molecules (proteins, fats, carbohydrates) and basic science processes. Part 2 of the course (Fall semester) focuses on more advanced application like gels, emulsions, foams, fermentation, and baking.

This course seeks to answer the questions, How was the manorial system formed, and how did it mitigate incentive problems then? How were property rights of peasants formed and protected in early modern times? Finally, how was Japan industrialized after the Meiji Restoration? In the real world, the first best resource allocation, which is presumed to be realized under perfect competition, cannot be achieved anyway. Given the structure of informational asymmetry and other technological conditions, a better second best has been sought and has evolved over times. The aim of the course is to understand the economic development of Japan from the medieval times, through the Tokugawa period and the Meiji Restoration, to the industrial revolution in the late 19th century.

This course aims to provide an introductory and comprehensive view of the history of diplomatic and cultural relations between Japan and the World in the latter half of the nineteenth century and the beginning of the twentieth century. A basic knowledge of Japanese history is desirable, but no previous knowledge of this subject will be assumed. A small amount of reading will be expected each week.
 

Students are expected to attend the classes, to participate in discussions, to submit short assignments from time to time, to choose a research project of their own choosing and hand in a semester-end paper of about 2,500 (～ 3,000) words by the end of the semester. (The number of words excludes notes and bibliography, and the paper should be written in a formal style, with reference notes and a list of bibliography.)
 

Although optional, students are also encouraged to make a brief presentation during the semester. (Further details will be announced in class.)

This is a contemporary history (from late 20th century to current period) course on East Asia surveyed through the lens of multidisciplinary area studies. It highlights select important themes in political-economic developments that may potentially lead to better understanding of contemporary East Asian regionalism and affairs. These political-economic themes can be found in the case studies on East Asian regionalism, energy use, soft power, technological developments (including military-industrial complex). The course materials are also divided into three major regions of focus: Northeast Asia, Southeast Asia, and US-Pacific presence. This course does not pretend to be comprehensive but provides class participants with the essential knowledge to analyze and understand contemporary East Asian political-economic affairs and development.

Jazz music is one of the 20th century's most important and enduring art forms.
It is an original American musical art form which emerged around the beginning of the 20th century in African American communities in the Southern United States. It developed out of the interchange between African and European music traditions. Jazz has also evolved into many styles while absorbing the elements of other music genres and has also influenced other cultures, such as theater, dance, and literature.

One of the basic elements that sets jazz apart from other types of music is improvisation, which is the instant composition of a new melody.
This course addresses the basic theory and foundation for jazz improvisation, through playing, singing, listening, writing, analyzing, and tapping. Through performance practices, the course aims to teach how to apply the theory and how to build a jazz vocabulary. Upon completion of the course, students will have the basic tools to create jazz melodies at a simple harmonic level.

Admission is by audition only, which is held on the first class. The audition will comprise of the following: 
(1) All applicants except the drummer will be required to play the major scale and the harmonic minor scale in a few keys; eighth notes at a tempo of 120 BPM.

(2) Playing session: medium up tempo swing blues in the key of Bb

For the horn player and stringed instrument player: improvised solo
For the pianist and guitarist: accompaniment with reading chord symbols and improvised solo
For the bassist: walking bass line with reading chord symbols
For the drummer: swing beat accompaniment