Thesis (M. A.)--University of Canterbury, 2008. / Typescript (photocopy). Includes bibliographical references (leaves 182-186). Also available via the World Wide Web.

Thesis (Ph. D.)--University of Chicago. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Hawaii at Manoa, 2005. / Includes bibliographical references (leaves 164-175).

Thesis (Ph. D.)--University of Chicago, Dept. of Linguistics, December 2002. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 192-203).

The nature of tense in classical Japanese is vague and uncertain, sometimes appearing to be interpretable by combinations of particular verbs with specific verbal auxiliaries and sometimes appearing to be absent altogether. The present study introduces a series of these so-called tense-bearing auxiliaries in classical Japanese while attempting to show that their use can be ambiguous based on the contexts in which they appear. The notions of context driven semantic formalism are explored as a possible means to derive truth from these utterances that seem otherwise tenseless when taken out of context. To accomplish this, time and tense are given very specific meaning and definition and thereafter explored in the context of both modern and classical Japanese.

In the wake of the recent and prolonged economic crisis, corporate governance in large corporations has come under increasing scrutiny. Employment is said to be precarious, and some commentators talk of how the social contract is being shredded. Against this backdrop, more nurturing approaches to employment and human resource management have an intrinsic appeal. With its stakeholder capitalism, Japan provides one such model. This thesis examines that model through the prism of a qualitative study of business repatriates and their careers. Using six career stories, it gives us a window on to contemporary Japanese HRM practices as they impact ‘core’ employees working with the assumption of lifetime employment at large Japanese companies. As a result, we learn about the ongoing strengths and weaknesses of Japanese HRM, and see how practices may change. The study’s longitudinal research design allows these career stories to unfold dynamically as the participants reflect reiteratively on their experiences and hopes, while interviews with two other repatriates, four HR managers, one mid-career job-changer, and a European administrator with long experience in multinationals add further depth and perspective. The repatriates express support for the HR systems in their companies, while also reporting frustration related to issues such as the opacity of the job assignment system. Their time abroad has changed how they think about their work and their employers, yet they are less vectors for change and more an internationalised old guard. Overall, this study gives us a detailed and nuanced picture of how Japanese repatriates experience their careers and think about their futures. It shows the value of an in-depth grounded approach to understanding contemporary attitudes in Japan related to the ongoing debate about HRM practices. The narratives of these Japanese business people, who have been exposed to what is alleged to be better practice overseas, demonstrate the importance of the continuity and stability of the Japanese employment model. Moreover, the traditional model emerges as logical and effective, suggesting that the considerable criticism of that model over the past two decades is misplaced. In addition, interpretation of the data suggests future avenues of research into how we understand change and continuity in Japanese HRM practices.

Depuis la fin de la guerre la société japonaise connaît d’importants changements, le cinéma japonais traitant de son époque est on pourrait dire comme d’autres formes d’expressions artistiques un indicateur des mœurs, des fluctuations de la société, par le regard personnel d’un auteur. Nous verrons dans notre développement dans lequel nous nous arrêterons plus spécialement sur des œuvres « clé » comment par le prisme du personnage du « mauvais garçon », la vision d’un artiste, en l’occurrence un cinéaste prend le plus souvent racine dans une réalité sociale et générationnelle ; et dans le cas du Japon si elle est révélatrice ou non d’une « spécificité » japonaise dans le traitement du récit. Nous avons choisi une approche socio-historique pour notre travail, ainsi les deux parties de cette thèse sont divisées de la sorte : Les diverses formes de représentation des différents groupes de sous culture de la jeunesse japonaise, puis L’évocation de personnages écartés du groupe par ostracisme ou par leur propre volonté. Au cours de la première partie nous étudierons les films dits du Taiyôzoku (la tribu du soleil) tirés des écrits d’Ishihara Shintarô. Puis certains films de la nouvelle vague japonaise, la nouvelle vague dite Shôchiku (du studio du même nom). Dans un deuxième temps nous traiterons des films qui mettent en scène des jeunes appartenant aux sous cultures futenzoku (les hippies) et Bôsôzoku (les gangs de motards). Dans la seconde partie, nous analyserons les films d’Oshima Nagisa et Suzuki Seijun ayant pour sujet des « mauvais garçons ». Nous avons ensuite étudié le yakuza eiga (film de gangsters), plus particulièrement Jingi no hakaba de Fukasaku Kinji réalisé en 1965. Nous terminons notre étude avec l’évocation et les analyses de films des années 1990-2000, ceux d'Iwai shunji, Toyada Toshiaki ou encore Kitano Takeshi. / Since the end of the War, Japanese society has gone through important changes; Japanese cinema dealing with its history is, we could say, as other forms of artistic expression, an indicator of customs, fluctuations in society, through the eyes of an author.We shall see in our development, in which we will focus in particular on «key» works, how, by the means of the «bad boy» character, the vision of an artist, here a film-maker, usually takes root in a social and generational reality, and in the case of Japan, whether it is revealing or not of a specific Japanese narrative process.We have chosen a socio-historical approach to our work, thus the two parts of this thesis can be divided as follows:The various forms of representation of the different groups of Japanese youth sub-culture, and then identifying the characters ruled out by the group, either by ostracism or by their own will.First, we shall study the so-called Taiyôzoku (tribe of the sun) films, based on Ishihara Shintarô’s written works. Next, some Japanese new wave films, notably of Shôchiku genre (from the studio of the same name). Then we shall deal with films featuring young people from Futenzoku (hippies) and Bôsôzoku (biker gangs) sub-cultures.In the second part, we shall study Oshima Nagisa and Suzuki Seijun films profiling «bad boys». To end, we have studied the yakuza eiga (ganster films), in particular Jingi no hakaba (Graveyard of Honor) directed by Fukasaku Kinji in 1965.We conclude our research by reviewing and analysing 1990-2000 films, those of Iwai Shunji, Toyada Toshiaki or Kitano Takeshi.

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