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For specific information related to your program or area of interest

Including how to apply, please visit the following pages:

Undergraduate Programs Information

Major or minor in Asian Studies.

Graduate Programs Information

Including: Master of Arts in Asian Studies, Master’s in Asian International Affairs, and Graduate Certificates in Asian Studies.

Student Testimonials

Christina Geisse

The Asian Studies Program was incredible because most professors were undertaking their own research, passionate about their subject of study, and enthusiastic about sharing their knowledge with students. It felt fresh and profound at the same time. Inspiring! 

Christina Geisse
Kim Sluchansky

I was able to delve deep and focus on the areas of Asian Studies that truly interested me, and therefore gained a much more thorough and developed understanding of my fields of interest, which are applicable to my current career path. Also, the professors are extremely helpful and want their students to succeed. They were very supportive both while I was at UH and after I graduated.

Dr. Sai Bhatawadekar’s latest article published

Congratulations to Dr. Sai Bhatawadekar! Her latest article, “Pu. La. Deshpande’s तीन पैशाचा तमाशा (Tīn Paiśācā Tamāśā): Brecht in Marathi,” was published in Nodes of Translation: Intellectual History between Modern India and Germany by De Gruyter Oldenbourg.

Pu. La. Deshpande’s तीन‍पैशाचा‍तमाशा (Tīn Paiśācā Tamāśā,1978) is a Marathi adap-tation of Bertolt Brecht’s Die Dreigroschenoper. Pu. La., as he is known by his initial syllables, relocates the play in Mumbai, turns Brecht’s Polly into Mālī, Peachum into Pañcapātre, Mackie Messer/Mack the Knife into Aṅkuś (ankus/elephant goad), and an “opera” into a “tamāśā.” The beggars, crime gangs, police in cahoots, sex workers, and the matter-of-course corruption represent an all too familiar Mumbai and India of the 1970s. Pu. La. creates both critical distance and laugh-out-loud entertainment; he packs the play with social, political, and religious critique, yet ultimately asks us to “forget what you saw here,” and even implicates theatre-makers and audiences themselves in bourgeois hypocrisy.

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