Miryam Sas
PhD, Yale University, Professor of Comparative Literature and Film & Media

 

Address

Comparative Literature
4405 Dwinelle Hall
University of California
Berkeley, CA 94720
E-mail: mbsas     @berkeley.edu

 

Bio

PhD, Comparative Literature and East Asian Languages and Cultures, joint program, Yale University.

Core Faculty, Performance Studies (1999–present); Core Faculty, Jewish Studies (2005–present); Core Faculty, Center for Japanese Studies (1997–present).
Affiliated Faculty, Department of Gender and Women’s Studies and Graduate Group in Women, Gender, and Sexuality (1998–present); Affiliated Faculty, Group in Asian Studies (1997–present).

Areas of interest: Japanese arts and culture (film, theater, literature, avant-gardes); 20th century critical theory (Japanese, French, English, German); experimental visual and literary arts, with an emphasis on transcultural views of the 1920s-1930s and 1960s-1970s; cultural memory; gender studies. Miryam Sas is the author of two books, Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return (released in spring 2011); and Fault Lines: Cultural Memory and Japanese Surrealism (Stanford UP, released in 2001). She has published articles on Japanese futurism, cross-cultural performance, literature, and butoh dance. She is beginning a book project on critical media practices in Japan from the 1960s to the present, and writing articles on pink film and Japanese experimental animation. Recent  courses include: Introduction to Anime, Post-Holocaust Cinema, Japanese Visual Cultures, Mass Media and Culture, Avant-Garde Film, Reading Walter Benjamin, Japanese Literary and Cultural Theory.  Before moving to Berkeley, Sas was assistant professor of Comparative Literature and East Asian Languages and Cultures at Harvard University.

Selected Publications

Experimental Arts in Postwar Japan: Moments of Encounter, Engagement, and Imagined Return (Harvard University Asia Center, released in spring 2011).

Fault Lines: Cultural Memory and Japanese Surrealism (Stanford University Press, released in 2001).

“Pink Feminism? The Program Pictures of Hamano Sachi,” forthcoming in The Pink Book, edited by Abé Markus Nornes (under consideration at Duke University Press).

“Violence and Cinematic Revolution (Ôshima Nagisa’s Ninja Bugeichô, 1967),”  on experimental animation of the 1960s, forthcoming in Mechademia 7.

“Subject, City, Machine,” on Japanese futurism, in Histories of the Future, edited by Susan Harding and Dan Rosenberg (Duke University Press, 2005).

“Hands, Lines, Acts: Butoh and Surrealism,” Qui Parle, Vol. 13, No. 2 (Spring/Summer 2003): 19-51. Also published as “De chair et de pensée: le butô et le surréalisme,” in Butô(s) (ed. Odette Aslan), CNRS Éditions, in the series Arts du spectacle, Paris, France, 2002.

“Palimpseste et contrepoint: l’Asie, du Japon à Java,” on Peter Sellars and Asian theatre, in Peter Sellars (ed. Frédéric Maurin), CNRS Éditions in the series Les voies de la création théâtrale, Paris, France, 2003.

“Chambered Nautilus: The Fiction of Ishikawa Jun,” Journal of Japanese Studies 24:1, Winter 1998, pp. 35-58.

“Imagining Futures: the Casual Theater of Betsuyaku Minoru” Review of Asian and Pacific Studies (No. 17, 1998) pp. 35-52.

“Frozen in Longing: Haikara modernity, Cultural Transformation and the Theater of Kishida Kunio” in Rethinking Urban and Mass Culture in 1920s and 1930s Japan: Representations, Politics, Identities, and Subject Formations , ed. Evelyn Schulz and Eduard Klopfenstein, special issue of Asiatische Studien/Études Asiatiques, Vol. LIII, No. 2, (Bern, Switzerland: Peter Lang, 1999).