This thesis focuses on the development of the Direct Broadcasting Satellite in Japan under its Kodo Johoka Shakai (Highly Advanced Information Society) policy. The field of new media policies is relatively new but very important in communications studies. The development of new media technologies changes into existing media systems, and profoundly influences economies which are increasingly dependent upon information services. / Japan's case is particularly interesting. Relatively little is known about its DBS policy compared to other industrialized countries, even though Japan has already begun to operate DBS under its own version of the "information society", the Kodo Johoka Shakai (Highly Advanced Information Society). The formulation of DBS policy is related to many factors, including space development, research and development, broadcasting, international telecommunications regulations and economic competition both in international and domestic markets. In order to take these factors into consideration, an historical approach and institutional analysis are used in this thesis.

Thesis (Ph. D.)--University of Hawaii at Manoa, 1981. / Bibliography: leaves 181-189. / Microfiche. / xv, 189 leaves, bound ill., maps 28 cm

Typescript. / Bibliography: leaves 184-191. / Photocopy. / Microfilm. / xii, 191 leaves, bound 29 cm

This thesis proposes that contemporary printmaking, at its most significant, marks the present through reconstructing pasts and anticipating futures. It argues this through examples in the field, occurring in contexts beyond the Euramerican (Europe and North America). The arguments revolve around how the practice of a number of significant artists in Japan, Australia and Thailand has generated conceptual and formal innovations in printmaking that transcend local histories and conventions, whilst paradoxically, also building upon them and creating new meanings. The arguments do not portray the relations between contemporary and traditional art as necessarily antagonistic but rather, as productively dialectical. Furthermore, the case studies demonstrate that, in the 1980s and 1990s particularly, the studio practice of these printmakers was informed by other visual arts disciplines and reflected postmodern concerns. Departures from convention witnessed in these countries within the Asia-Pacific region shifted the field of the print into a heterogeneous and hybrid realm. The practitioners concerned (especially in Thailand) produced work that was more readily equated with performance and installation art than with printmaking per se. In Japan, the incursion of photography interrupted the decorative cast of printmaking and delivered it from a straightforward, craft-based aesthetic. In Australia, fixed notions of national identity were challenged by print practitioners through deliberate cultural rapprochements and technical contradictions (speaking across old and new languages).However time-honoured print methods were not jettisoned by any case study artists. Their re-alignment of the fundamental attributes of printmaking, in line with materialist formalism, is a core consideration of my arguments. The artists selected for in-depth analysis from these three countries are all innovators whose geographical circumstances and creative praxis drew on local traditions whilst absorbing international trends. In their radical revisionism, they acknowledged the specificity of history and place, conditions of contingency and forces of globalisation. The transformational nature of their work during the late twentieth century connects it to the postmodern ethos and to a broader artistic and cultural nexus than has hitherto been recognised in literature on the print. Emerging from former guild-based practices, they ambitiously conceived their work to be part of a continually evolving visual arts vocabulary. I argue in this thesis that artists from the Asia-Pacific region have historically broken with the hermetic and Euramerican focus that has generally characterised the field. Inadequate documentation and access to print activity outside the dominant centres of critical discourse imply that readings of postmodernism have been too limited in their scope of inquiry. Other locations offer complexities of artistic practice where re-alignments of customary boundaries are often the norm. By addressing innovative activity in Japan, Australia and Thailand, this thesis exposes the need for a more inclusive theoretical framework and wider global reach than currently exists for ‘printmaking’.

This dissertation reports on the experiences of a small group of teachers and administrators as they endeavoured to reform the middle years curriculum of an international school in Japan. This single case study is based primarily upon the observations of the researcher, a middle school teacher at the school and a key participant in the reform process. This study is positioned in the naturalistic paradigm which allows for the accumulation of sufficient knowledge to lead to a holistic understanding of middle years curriculum reform within this context.Reforming the middle years of schooling has received renewed attention in recent years. A new paradigm is emerging about the nature of schooling in this significant stage of life that is now recognised as crucial to the formation of attitudes, values, and habits of mind that shape the individual‘s identity and development as an adult. Despite the growth and status of international schools, very little is known about the nature and processes of middle years curriculum reform in this context. The central aim of this study was to provide a detailed and authentic account of the process of curriculum reform that can validate, guide and extend the current body of knowledge on middle years curriculum reform and is meaningful and useful to educators in the international school context.Three dimensions of reform emerged in this study: the process of reform, identified as a multidimensional and interconnected process that ventured through six identifiable phases; the product of the reform, the Humankind Curriculum, was found to have its core features grounded in shared understandings of effective middle schooling; and the dynamics of change, which revealed a professional learning community as the catalyst for change, with the interplay of relational trust, leadership, interpersonal relationships and collaboration as empowering the capacity for reculturing the middle school. While the findings contribute to the current body of knowledge on middle school reform in the international school context, they also provide direction for further discussion, exploration and research.

Bibliography: leaves 336-344. / 344 leaves : ill. ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Graduate School of Management, 2000?

This study is a partial replication of Pica et al’s study (1989) of comprehensible output, and investigates comprehensible output in NNS-NNS interaction in Japanese as a Foreign Language. Data were collected using two different types of tasks (information gap and jigsaw tasks) in three sub-groups of different proficiency levels (High-High, Low-Low, and High-Low) in order to find out (1) to what extent the tasks provide opportunities for learners to modify their initial output in response to requests for clarification and confirmation, and (2) the extent to which learners actually modify their output in response to interlocutor requests. / The results show that comprehensible output is an important phenomenon in NNS-NNS interaction. Unlike the result of Pica et al, task types had more effect on opportunities for comprehensible output and actual production of comprehensible output than request types. Not much difference was found among different proficiency groups.

This project explores my relationship with elements of Japanese culture. Central to the project will be the Japanese practice of cosplay (dressing in costume), otaku (geek) subculture and their influences in the worlds of Japanese manga comic books and animated films. It will focus on the importance of kawaii (cute) in Japanese culture. The artworks will explore notions of identity and the ‘space between’. I shall do this through the gathering of Japanese objects which will be fused with my own image. I shall use photography, print and digital manipulation finishing in a sculptural installation referencing pop culture and commercial display. This project will constitute 80% practical work to be presented in a final exhibition piece accompanied by 20% written exegesis.

This project explores my relationship with elements of Japanese culture. Central to the project will be the Japanese practice of cosplay (dressing in costume), otaku (geek) subculture and their influences in the worlds of Japanese manga comic books and animated films. It will focus on the importance of kawaii (cute) in Japanese culture. The artworks will explore notions of identity and the ‘space between’. I shall do this through the gathering of Japanese objects which will be fused with my own image. I shall use photography, print and digital manipulation finishing in a sculptural installation referencing pop culture and commercial display. This project will constitute 80% practical work to be presented in a final exhibition piece accompanied by 20% written exegesis.

Henry Black was born in Adelaide in 1858, but arrived in Japan in 1864 after his father became editor of the Japan Herald. In the late 1870s, Henry Black addressed meetings of members of the Freedom and People�s Rights Movement. His talks were inspired by nineteenth-century theories of natural rights. That experience led to his becoming a professional storyteller (rakugoka) affiliated with the San�y� school of storytelling (San�yuha). Black�s storytelling (rakugo) in the 1880s and 1890s was an attempt by the San�y�ha to modernise rakugo. By adapting European sensation fiction, Black blended European and Japanese elements to create hybridised landscapes and characters as blueprints for audiences negotiating changes synonymous with modernity during the Meiji period. The narrations also portrayed the negative impacts of change wrought through emulation of nineteenth-century Britain�s Industrial Revolution. His 1894 adaptation of Oliver Twist or his 1885 adaptation of Mary Braddon�s Flower and Weed, for example, were early warnings about the evils of child labour and the exploitation of women in unregulated textile factories. Black�s kabuki performances parallel politically and artistically inspired attempts to reform kabuki by elevating its status as an art suitable for imperial and foreign patronage. The printing of his narrations in stenographic books (sokkibon) ensured that his ideas reached a wide audience. Because he was not an officially hired foreigner (yatoi), and his narrations have not entered the rakugo canon, Black has largely been forgotten. A study of his role as a mediator of modernity during the 1880s and 1890s shows that he was an agent in the transfer to a mass audience of European ideas associated with modernity, frequently ahead of intellectuals and mainstream literature. An examination of Black�s career helps broaden our knowledge of the role of foreigners and rakugo in shaping modern Japan.