In Bungakuron (Principles of Literature), Natsume Sōseki applies concepts of evolution to dynamics in literature, consciousness, and society. Although he posits that transformations occur in literature and literary movements in a largely contingent and non-teleological manner, he also suggests that development and progress occur in these domains in the direction of ever-increasing differentiation and complexity. In response to the alienating effects of such differentiation and individualization over the course of modernization, he explores the potential for other relations to arise. Such potentiality is largely conceived in terms of affective processes, including forms of "pure experience." This thesis explores Sōseki's theory and works of literature including Wagahai wa neko de aru (I am a Cat), Koto no sorane (Hearing Things), Shumi no iden (The Heredity of Taste), and Kusamakura (Grass Pillow), considering ethical questions raised in the context of themes of war, trauma, and the relation between subjects and the nation-state. / Dans Bungakuron (Principes de littérature) de Natsume Sōseki, il s'agit d'une dilatation des concepts d'évolution aux domaines de la littérature, de la conscience et de la société. Bien que Sōseki souligne que certaines transformations prennent place dans les domaines de la littérature et des mouvements littéraires de façon largement contingente et non-téléologique, il suggère également que le développement et le progrès effectués dans ces domaines sont orientés vers une différentiation et une complexification grandissantes. En réponse aux effets aliénants de la différentiation et de l'individualisation qui accompagnent la modernisation, il explore les possibilités pour que d'autres types de relation émergent. Ce potentiel est largement exploré en termes de processus affectifs, incluant des formes d'expériences pures. Ce mémoire amorce une série d'analyses des théories et des travaux littéraires de Sōseki incluant Wagahai wa neko de aru (Je suis un chat), Koto no sorane (Entendre des choses), Shumi no iden (L'hérédité du goût) et Kusamakura (Oreiller d'herbe) en considérant les questions éthiques soulevées dans le traitement des thèmes de la guerre, du traumatisme et du rapport entre sujets et l'état-nation.

Thesis (M.A.) -- University of Montana, 2009. / Title from author supplied metadata. Description based on contents viewed on August 12, 2009. Author supplied keywords: Asian ; identity ; Missoula ; Culture ; adoption ; hmong . Includes bibliographical references.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2008. / Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4336. Adviser: Jed Esty. Includes bibliographical references (leaves 216-228) Available on microfilm from Pro Quest Information and Learning.

Thesis--University of Wisconsin--Madison. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 110-119).

abstract: This paper explores the development of newspapers and serialized novels in Meiji era Japan (1868 - 1912). A theoretical discussion of the role of newspapers in the evolution of culture and society provides background for an analysis of the history and development of the newspaper in Japan. The primary focus is on the rapid development of newspapers and their contribution to the extensive changes in society during the Meiji period. Newspapers both contributed to and were influenced by the development of Japanese society. Finally, the paper applies the theoretical understanding and historical perspective to the analysis of two Meiji serialized novels, one from the beginning of Meiji and one from the end of the era. These novels reveal that Meiji Japan was concerned with creating a general public and establishing an image of a "Japanese nation" that had not previously existed. Takahashi Oden yasha monogatari (1878-1879), by Kanagaki Robun (1829 - 1894), shows how society excluded groups in order to strengthen the majority of people's identification with Japanese society's norms at the beginning of Meiji. Kokoro (1914), by Natsume Souseki (1867 - 1916), uses the shared experience of the death of Emperor Meiji to pull all Japanese into an inclusive social group, and solidify the image of what it meant to be part of Japan in the modern era. / Dissertation/Thesis / M.A. Asian Languages and Civilizations 2012

<p> &ldquo;When Mistakes are Made in Music Playing, Someone Glanced&rdquo;: The Evolution of Allusion Zhoulang Gu analyzes the origin of the historical allusion Zhoulang Gu, how it was firstly used in classical Chinese literature and how it developed into a literary imagery. The whole process started in Northern and Southern Dynasties (420-589) (which is about three hundred years away from the actual Zhoulang Gu story happened) and stabilized after Song Dynasty (960-1279). This thesis will list and examine some selected literary works with the use of allusion Zhoulang Gu from this period. </p><p> Zhoulang Gu &ldquo;special characters omitted&rdquo; (&ldquo;the Young Zhou glances&rdquo;), literally means the young Zhou glances. Zhoulang is a laudatory title of the famous general Zhou Yu (175-210) at the end of Eastern Han Period (45-220). The story Zhoulang Gu was recorded in Records of the Three Kingdoms, the biography of Zhou Yu. It says that Zhou Yu is good at music, even if it is after drinking in a banquet, he can still recognize the mistakes made in music playing and will glance at the music player. So people at that time make this story a folk song and it says &ldquo;(When) the music playing appear mistakes, Zhoulang will glance.&rdquo; </p><p> From close text reading, it shows that Zhoulang Gu&rsquo;s development is closely related to qun &ldquo;special character omitted&rdquo; (&ldquo;gathering&rdquo;) among literati. Qun is a phrased that Confucius brings up to describe the function of Shijing &ldquo;special characters omitted&rdquo; [Book of Songs]. And this thesis will analyze how gathering affected Zhoulang Gu&rsquo;s evolution and how Zhoulang Gu helps literati&rsquo;s social intercourse. </p><p>

More knowledge about the spawning habits of the invasive silver (Hypophthalmichthys molitrix) and bighead (H. nobilis) carps in the United States could lead to a better understanding of how and where these fish are able to successfully reproduce and continue to expand their range. This study explored the possibility of combining multiple strategies (mobile tracking, catch-per-unit-effort [CPUE] of females, reproductive staging of females, and CPUE of larvae) to determine whether Asian carp were more likely to spawn in specific habitats. Additionally, I explored whether the timing of spawning was size-dependent for female Asian carp, and whether Asian carp larvae overlapped with those of native species in space and time. Adult females and larvae were collected weekly and transmittered adults were tracked generally monthly in Pool 26 of the Mississippi River during optimal spawning temperatures in 2011. Mixed model repeated-measures analyses indicated no effect of habitat on adult female or larvae CPUE. There were significant increases in Asian carp larvae CPUE on June 6 (t77 = 5.65, P < 0.001) and June 20 (t77 = 7.33, P < 0.001), indicating recent spawning bouts. Regression tree analysis found that the highest Asian carp larvae CPUE occurred at temperatures ¡Ý 22.5¡ãC and turbidities ¡Ý 163.5 NTU (0.50 larvae m-3). A multinomial baseline-category logit model suggested that there was a 0.83 probability of relocating a tagged fish in a backwater. Logistic regressions determined that 50% of silver carp females were mature at 688 mm total length and larger silver carp females had a higher probability of being spent earlier in the spawning season than smaller females. Asian carp represented 10% of all collected larvae and made up over half of the total larval catch on June 6, 2011. This study found little evidence suggesting that Asian carp are spawning in specific habitats. However, it is possible that the temporal collection pattern was too coarse to catch their potentially rapid response to spawning cues. Larger females may be contributing disproportionately to the population through early spawning, suggesting that population reduction could be increased by targeting these females.

This study compares and contrasts China's soft power exercise with that of America and Japan. The purpose of this comparative study is to explore similar and different roles of which government and non-governmental agents play in wielding soft power. This study compares these three nation's soft power exercise from three dimensions: culture, economy, and foreign policy. Additionally, in order to examine the practice of government and non-governmental agents in depth, this study also includes a case study that compares China's Confucius Institute with America's the Fulbright Program and Japan's the JET Program. This study argues that in comparison with America and Japan, China's soft power strategy is the most government-centered. America's soft power is the least government-centered. Japan is the middle case. While China's government has contributed significantly to the growth of China's soft power in the 21th century, China's non-governmental agents play a less effective role that that of America and Japan's non-governmental agents.

<p> Kobayashi Takiji&rsquo;s (1903&ndash;1933) <i>Kanik&omacr;sen</i> (<i>The Crab Cannery Ship</i>, 1929), the outstanding work from the proletarian literary movement, experienced an influx of new adaptations into various mediums during the years that preceded and followed the &ldquo;<i> Kanik&omacr;sen</i> boom&rdquo; of 2008. This thesis focuses on two manga adaptations that provide readers with starkly different takes on the original story. Using theories by Scott McCloud and Azuma Hiroki, I first attempt to draw parallels between the form of manga and that of the novel. Then, I examine the manner in which the most explicitly political content of the novel is adapted into the manga versions. Through this examination of form and content, it becomes apparent that, despite their differences, both adaptations reinforce a vague, individualist-humanist ideology that undermines the notions of class consciousness and class struggle that are central to the narrative of <i> Kanik&omacr;sen</i>. This diminishing of the explicitly &ldquo;Red&rdquo; aspects of the original reflects the Japanese public&rsquo;s general aversion to politics that has persisted since the early 1970&rsquo;s until this day. </p><p>

Early twentieth-century Chinese literary critics create a model of literary development that highlights leading genres for each dynasty. For the Ming and the Qing dynasties, these are drama and fiction. This model relegates other genres of the period, especially poetry and lyric, to a second-class status, and accounts for their less visibility in scholarly research until today. The aim of my dissertation is not to reverse the hierarchy of genres, but to break the boundaries of genres, examining the ways in which the aesthetic sensibility connected to drama and fiction is transposed to other genres and renews their conventions. The cross-genre approach used in my dissertation is supported by an overview of the literary scene of the period, when literati took up diverse roles from scholar-officials to professional dramatists, novelists, and painters, when the boundaries between "high" and "low" genres became more fluid and literati wrote across elite and popular genres, and when illustrations of printed plays and fiction, thanks to the rise of print culture, circulated widely and inspired the literati's cross-media imagination. Social practices of Ming and Qing literati, such as going to the theater, reading and writing commentary on drama and fiction, appreciating illustrations of printed plays and fiction, or listening to story-telling, translated into an awareness of the commensurability of life and theater (theatrum mundi), bringing role play, playfulness, staging, and fictional time and space to the reading and writing of other genres, creating textual and aesthetic hybridity in these latter genres. I use the term theatrical/fictional lyricism to refer to the ways in which drama and fiction, commentary on drama and fiction, and illustrations to drama and fiction change the conventions of reading and writing poetry and prose in terms of rhetoric and theme. The term also draws attention to the textual and aesthetic hybridity in these genres. Theatrical/fictional lyricism is a new form of lyricism, in which role play gives a twist to the genuine poetic voice, the records of real events gives way to self-conscious fictionality, and normal time and space merges with staged, illusory time and space. / East Asian Languages and Civilizations