Thesis (Ph. D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 313-321). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (Ph. D.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (M.S. Ed.)--University of Wisconsin -- La Crosse, 2002. / Includes bibliographical references (leaves 96-98).

Thesis (Ph. D.)--York University, 1999. Graduate Programme in Political Science. / Typescript. Includes bibliographical references (leaves 466-484). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ39273.

This report examines how twentieth-century Japanese “artists” – Kafū Nagai, Ryūnosuke Akutagawa, and Kurosawa Akira – applied characters and/or principles of nineteenth-century artists active in France to their works. Specifically, I study the influences of Emile Zola, Paul Cézanne, and Vincent van Gogh. The first chapter examines the way that Kafū adopted Zola’s Nana (1880) in his own novel, Rivalry (1918), arguing that Nana provided Kafū with a vocabulary to express anxieties about Japan’s future. Comparing social conditions in late nineteenth-century France to those in early twentieth-century Japan, the chapter explains how Kafū feared that the debauched world in Nana would be Japan’s new destination. My second chapter moves away from Kafū and Zola, examining, instead, how Akutagawa applies Cézanne’s notions of subjectivity in his Japanese short story, “In a Grove” (1922). Specifically, I argue that Akutagawa and Cézanne both conceive reality as dependent of, and inevitably attached to, subjective truth. My third and final chapter, shifting to a focus on film, examines the way that Kurosawa uses van Gogh’s character to express frustrations about society’s neglect of nature, as well as about his own creative passions as an artist. Through the different mediums discussed in the report – novel, short story, painting, and film – I show that nineteenth-century French influence in twentieth-century Japan was not small in scope, concluding that the great influences merit further study, particularly since Franco-Japanese influences continue visibly today. / text

published_or_final_version / History / Master / Master of Arts

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This thesis presents a feature-based approach to aspect. I argue that both viewpoint aspect and lexical aspect are generated from the presence of functional properties that operate at three levels of syntactic structure: lexical, predicate, and clausal. The same aspectual feature has a different effect on the aspectual properties of the clause as a whole depending on the level at which it is active and the contrasts in which it participates. I illustrate this for English and Japanese, showing that a small number of syntactic features can capture the differences and similarities between the aspectual systems. I propose that aspect in English is determined by two functional heads: AspQ, which encodes quantity (i.e., telicity), and AspA, which encodes atomicity (i.e., punctuality). AspQ may either be a root modifier, lexically encoding quantity, or head a separate functional projection within the vP system, where it is licensed by a quantized argument. AspA may also be a root modifier, lexically encoding atomicity; it may also appear in the inflectional domain, where it encodes clausal non-atomicity (i.e., imperfective aspect). I propose that Japanese is like English in that AspA may be active at the root level; however, it differs from English in that AspA may also be active at the vP level, where it encodes the fact that the predicate is represented as a single unit. Japanese also differs from English in that it does not make use of the feature AspQ, meaning that Japanese has no quantity distinction, and makes use of the feature State, which heads a functional projection where light verbs such as iru ‘be’ are merged. Thus, the differences in the aspectual systems of English and Japanese are attributed to a few features that are active at different levels of syntactic structure.

This thesis presents a feature-based approach to aspect. I argue that both viewpoint aspect and lexical aspect are generated from the presence of functional properties that operate at three levels of syntactic structure: lexical, predicate, and clausal. The same aspectual feature has a different effect on the aspectual properties of the clause as a whole depending on the level at which it is active and the contrasts in which it participates. I illustrate this for English and Japanese, showing that a small number of syntactic features can capture the differences and similarities between the aspectual systems. I propose that aspect in English is determined by two functional heads: AspQ, which encodes quantity (i.e., telicity), and AspA, which encodes atomicity (i.e., punctuality). AspQ may either be a root modifier, lexically encoding quantity, or head a separate functional projection within the vP system, where it is licensed by a quantized argument. AspA may also be a root modifier, lexically encoding atomicity; it may also appear in the inflectional domain, where it encodes clausal non-atomicity (i.e., imperfective aspect). I propose that Japanese is like English in that AspA may be active at the root level; however, it differs from English in that AspA may also be active at the vP level, where it encodes the fact that the predicate is represented as a single unit. Japanese also differs from English in that it does not make use of the feature AspQ, meaning that Japanese has no quantity distinction, and makes use of the feature State, which heads a functional projection where light verbs such as iru ‘be’ are merged. Thus, the differences in the aspectual systems of English and Japanese are attributed to a few features that are active at different levels of syntactic structure.