Changes in Social Commitment in The Works of Haruki Murakami

中文摘要 村上春樹的文學作品不僅在作者母國日本備受歡迎，在世界各國也陸續翻譯成冊，廣受喜愛。不過，在村上春樹文學研究方面，個別的作品研究雖然已有相當數量，有關作品間的思想推移或是關聯性的研究相對較少。 村上春樹文學中有幾個特徵，其中一個顯著的特徵是主角的「封閉性」。與他人、社會保持一定距離，待在自身天地中，像這樣「封閉」的生活方式是村上春樹文學中，主角常採用的態度。這樣的態度同時也讓人聯想到現代社會中，人際關係的疏離，某種程度上可說是反映了當代現況。 但是，自《聽風的歌》以來，《1973年的彈珠玩具》、《尋羊冒險記》等作品中，主角所一貫保持著，無特定理由地安於處在自身構築之「封閉世界」的態度，以《挪威的森林》為分水嶺，之後的作品中伴隨著「想有所接觸的他人」的登場，可看出主角有了想與他人在「現實世界」中生活下去的轉變。 本研究以《挪威的森林》、《國境之南，太陽之西》、《發條鳥年代記》為中心，關注作品間的關聯性之餘，為了正確地掌握主角與其他角色所背負的煩惱、心情與心境變化等，以村上春樹小說中常見的情節反覆、身體上的變化為憑據進行論證。除了考察在安於「封閉世界」中的心情逐漸變化的情況下，主角是如何致力於擺脫「封閉世界」，尋求在「現實世界」中生活的可能外，對於其他角色所代表的生存模式也進行了探討。 透過這些方式，本研究在刻劃出該時期村上春樹文學中，主角從自我本位轉變成為他人奮鬥的成長軌跡之餘，也揭示了作品中呈現的，對於人生中的難關、與他人交流時無可避免的傳達及理解之困難該如何克服，以及和他人共同生活下去的生存模式。 關鍵字：村上春樹、封閉、現實感喪失、同理心、回復、成長、生存模式

PITS (Perpetration-induced Trauma Stress) or perpetrator trauma is a form of posttraumatic stress disorder (PTSD) and a subject of debate in trauma discourse, where it is regarded as an unwelcome ghost that carries a heavy load of moral and ethical ambiguity. The issue arises from the question of how one can experience traumatic stress when one wilfully commits immoral or unlawful acts. In this sense, it must be remembered that perpetrators are not always willful murderers, especially in the case of a war when young men are drafted against their will. The Japanese invasion of China is one such example where a large number of Japanese undergrad students were unwilling draftees, conscripted to advance the state’s militaristic ideology. In his fiction, Haruki Murakami tackles this particular issue by introducing characters like the innocent Japanese youths who were forced to join the war and commit mass atrocities. Because they were not seduced by imperial ideology and its violent ethos, they were unwilling perpetrators of horrific crimes that would come to haunt them upon their return home, causing deep psychological traumas. Their condition was aggravated all the more when their society did not acknowledge their trauma and considered it a weakness. What’s more, those who revealed their psychological condition were regarded as traitors to the nation, thus becoming victims in their own right. This paper analyses the perpetrators’ victim/victimiser duality that brings about the PITS condition. For this purpose, the paper shall analyse the fiction of Haruki Murakami, with special reference to two of his novels: The Wind-up Bird Chronicle (1994) and Killing Commendatore (2017).

How ecological design emerged in Scandinavia during the 1960s and 1970s, building on both Scandinavia's design culture and its environmental movement. Scandinavia is famous for its design culture, and for its pioneering efforts toward a sustainable future. In Ecological by Design, Kjetil Fallan shows how these two forces came together in the late 1960s and early 1970s, when Scandinavian designers began to question the endless cycle in which designed objects are produced, consumed, discarded, and replaced in quick succession. The emergence of ecological design in Scandinavia at the height of the popular environmental movement, Fallan suggests, illuminates a little-known reciprocity between environmentalism and design: not only did design play a role in the rise of modern environmentalism, but ecological thinking influenced the transformation in design culture in Scandinavia and beyond that began as the modernist faith in progress and prosperity waned. Fallan describes the efforts of Scandinavian designers to forge an environmental ethics in a commercial design culture sustained by consumption; shows, by recounting a quest for sustainability through Norwegian wood(s), that one of the main characteristics of ecological design is attention to both the local and the global; and explores the emergence of a respectful and sustainable paradigm for international development. Case studies trace key connections to continental Europe, Britain, the US, Central America, and East Africa. Today, ideas of sustainability permeate design discourse, but the historical emergence of ecological design remains largely undiscussed. With this trailblazing book, Fallan fills that gap.

Objective To provide a critical, theoretical response to some ideas argued initially by Jackson and Davidson (Int J Eat Dis, 5, 821–835, 1986). Those ideas developed an understanding of anorexia nervosa in terms of disturbed death ideation and the notion of the anorexia nervosa sufferer as a "survivor." This paper was intended to broaden the frame of reference for a consideration of the relationship between eating disorders and death ideation. Method: The approach is a reflection on three domains of thinking about death and destructiveness, two within psychology, the third a perspective provided by philosophy. Specifically, early post-Freudian work, personal construct psychology, and the philosophical tradition that makes death generally significant in human life, that is, Existentialism, are discussed in terms of their illumination of the ideas under review. Results: The result is a series of speculative observations that constitute an argument that these three domains together provide a strong countercritical position to the idea of a universal, even a general significance of death, particularly etiologically, in anorexia nervosa. Discussion: The discussion suggests that the particular significance of death ideation in a multidimensional condition like anorexia nervosa must be derived in each particular case where it will sometimes be more, sometimes less significant, and, importantly, will mean something different to each individual sufferer. © 1997 by John Wiley & Sons, Inc. Int J Eat Disord 22:223–229, 1997.

The Pull of Politics: Steinbeck, Wright, Hemingway, and the Left in the Late 1930s

The article examines posters produced by the peace movements in the Federal Republic of Germany during the Cold War, with an analytical focus on the transformation of the iconography of peace in modernity. Was it possible to develop an independent, positive depiction of peace in the context of protests for peace and disarmament? Despite its name, the pictorial self-representation of the campaign ‘Fight against Nuclear Death’ in the late 1950s did not draw on the theme of pending nuclear mass death. The large-scale protest movement in the 1980s against NATO's 1979 ‘double-track’ decision contrasted female peacefulness with masculine aggression in an emotionally charged pictorial symbolism. At the same time this symbolism marked a break with the pacifist iconographic tradition that had focused on the victims of war. Instead, the movement presented itself with images of demonstrating crowds, as an anticipation of its peaceful ends. Drawing on the concept of asymmetrical communicative ‘codes’ that has been developed in sociological systems theory, the article argues that the iconography of peace in peace movement posters could not develop a genuinely positive vision of peace, since the code of protest can articulate the designation value ‘peace’ only in conjunction with the rejection value ‘war’.

This chapter is an interim report on a large, and expanding, study of what lies behind the rise in U.S. university patenting and license revenues that has occurred since the late 1970s, on what have been the consequences of those developments, and the policy issues they raise. The early work on this project was focused on Columbia University. Michael Crow, Annetine Gelijns, Holly Raider, Bhaven Sampat, and Richard Nelson were the principal researchers on this early work. Then the project extended to include the University of California and Stanford, with David Mowery and Arvids Ziedonis joining the research group. Recently the project has expanded further, to include scholars at Johns Hopkins University, Penn State, and Duke University. Other scholars at Case Western Reserve University, Purdue and perhaps others may join us.KeywordsIntellectual PropertyTechnology TransferInnovation PolicyPatent OfficePrincipal ResearcherThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

The article analyzes the poetics of opening passages in 15 works by Arkady Gaidar for children, spanning from R. V. S. (1926) to The Hot Stone (1941), in the context of the evolution of the writer’s idiostyle. The opening passage is understood as the first paragraph of a text. It necessitates addressing issues of Gaidar’s textology, since more than half of the examined works exhibit significant textual variations in their initial paragraphs across different editions. These variations often pertain to structural organization and motif content, which are central to the analysis. The author identifies that in the opening passages of Gaidar’s early works — from the 1920s to the early 1930s — motifs of local setting dominate, without direct character introductions, although child protagonists may be introduced via free indirect speech. In the texts of the early 1930s, character nominations by the narrator — mainly group-based — begin to appear, and a rhetorical formula emerges in the openings, linking the names of three protagonists with their ages. Starting in 1934, adult characters are included in the openings, and by the late 1930s they dominate, even though children remain the main protagonists. Around the same time, motifs of anxiety and social labor become a consistent feature in Gaidar’s openings. This reflects the general ideological and thematic evolution of the writer: from depicting children’s lives to portraying the relationships between children and adults, who increasingly become full-fledged protagonists in his works.

What is the topic of this review? This brief review describes the work of Professor John Coote and colleagues at the University of Birmingham, which has contributed to understanding of the role of muscle afferent involvement in cardiorespiratory control in exercise. What advances does it highlight? The seminal findings of John Coote's early work are highlighted, as well as more recent developments in the field, especially the role of muscle afferents in the control of human ventilation during exercise. Through the work of John Coote, research into the role of muscle afferent involvement in cardiorespiratory control has had strong links with Birmingham since the late 1960s. This brief review gives an historical background to John's early work and how his research and mentorship of colleagues continues to have a profound influence on the field today.

The review discusses a collection of articles produced by a team of scholars under the supervision of professor Igor Svetlov. The book focuses on alternative experiments in late 1800s — early 1900s French art, which, although they failed to grow into independent movements, succeeded in producing several interesting concepts. The study is especially concerned with the Paris-based salon of ‘Rose + Croix’ and its founder Josephin Peladan — a writer, philosopher, occultist, and an able organizer. The book considers his artistic interests and views on the connection between art and religion, the role of symbolism in artistic thought, and the relationship between the modernity of his day and the previous epochs, including the esoteric and magical traditions. The collection covers a broad variety of subjects, such as the fantastic and the demonic in Paris, the mystical components in landscape paintings of the late 1800s, illustrations in the era of decadent art, intellectualism and intuition of the regulars of Peladan’s salons, esotericism and symbolism as a bridge into otherness, the existential and the universal in 1900s’ Parisian architecture, M. Voloshin’s turn-of-the-century spiritual and aesthetic experiments, the Parisian ‘imprint’ in Kandinsky’s early works, and Paris photographed at nighttime.

The Hannes Alfvén Prize of the European Physical Society for Outstanding Contributions to Plasma Physics (2004) has been awarded to Jack Connor, Jim Hastie and Bryan Taylor `for their seminal contributions to a wide range of issues of fundamental importance to the success of magnetic confinement fusion, including: the development of gyro-kinetic theory; the prediction of the bootstrap current; dimensionless scaling laws; pressure-limiting instabilities, and micro-stability and transport theory'.Jack Connor, Jim Hastie and Bryan Taylor form one of the most successful teams of theoretical physicists in the history of magnetic confinement fusion. They have made important contributions individually, but their greatest discoveries have mostly been accomplished jointly, either in pairs or as a team involving all three. Their early work, in the 1960s, included the development of the gyro-kinetic theory for fine-scale plasma instabilities, which today forms the basis of the most advanced turbulence simulation codes in tokamak and stellarator research. The theoretical prediction of the bootstrap current, made in 1970–71 was not confirmed experimentally for over a decade but is now regarded as crucial to the success of the tokamak as a steady-state fusion power source. Their work on collisional transport also included the prediction of impurity ion accumulation, which is observed in internal transport barriers and is a key concern for long-pulse tokamak operation. The relativistic threshold for runaway electrons, identified in 1975, forms the basis of the most recent tokamak disruption mitigation schemes. In the late 1970s, the team developed the theory for ballooning instabilities, which provided an important ingredient in the `Troyon–Sykes' β-limit—an expression that is still used as a guide to the performance of tokamaks and in the design of ITER. Ballooning mode theory has also contributed to the understanding of instabilities in space plasmas such as magnetospheres and the solar corona. Finally, coming right up to date, the ballooning mode is thought to be a key ingredient in edge-localized modes (ELMs), which are a main issue for ITER, and ballooning stability is an important feature of modern stellarators. In the late 1970s and through the 1980s, the concept of dimensionless scaling laws was introduced and developed (following work by Kadomtsev), enabling scalings for transport coefficients to be derived without tackling all the details of the plasma turbulence. The same ideas are still used today to provide various constraints on confinement scaling laws, for example, on which the ITER design is largely based. The linear theory of toroidal drift waves was also developed by the team during this period, and into the 1990s. Key results on the role of shear damping in toroidal geometry, the identification of modes with extended radial correlation lengths, and the role of flow shear in reducing these correlation lengths (and hence transport) were deduced. All of these are key ideas that are often components in theoretical models for tokamak confinement and the generation of transport barriers. This laudation can only address a small number of the areas in which this formidable team of theoretical plasma physicists have made great contributions to our understanding of magnetically confined plasmas. It is appropriate and timely that their contributions are recognized as they approach the end of their careers.

Tail risk of hedge funds: an extreme value application

The article deals with the recurrence of the theme of Daedalus and Icarus within European and Slovene literature. It is possible to discern common characteristics in this theme in literary works belonging to various historical periods. Thus in Antiquity authors generally emphasised the relationship between father and son in the mythological tale of Daedalus and Icarus; in the Middle Ages, the character of Icarus was mainly seen in a moralizing light, as an allegory of human vanity and conceit, while the Renaissance bestowed upon Icarus the role of a hero in love songs. In the period between Baudelaire and Joyce, both Icarus and Daedalus were primarily associated with the idea of the modern artist, who contemplates questions of life with great intensity, while the period after 1945 brought about new contextualizations of the mythological tale. Just as in the original mythological tale, subsequent literary portrayals of Daedalus and Icarus generally portray the two characters independently from one another. The difference between them manifests itself primarily through the contrast between youth and old age, and the contrast between the creative nature of poetry, on the one hand, which brings emotions to the fore, and science, on the other hand, which is based on reason. From this perspective, then, the character of Icarus is endowed with enthusiasm, ambition, courage, impetuosity, irrationality and sometimes even madness. He represents an extraordinary individual, who strives for an exalted ideal, which in turn becomes the very reason for his physical demise. He has an ambivalent nature: one can perceive him either as an arrogant figure or a hero. In contrast to Icarus, his father Daedalus is a skilled craftsman and artisan. He represents prudence, balance and reason, while striving for freedom of creation. In Slovene literature, a portrayal of the theme of Daedalus can be found in the poem of Janez Mihelič from the period of Enlightenment, while the character of Icarus appears in the title of one of Kosovel’s poems. Later on, the theme is mainly treated by authors of the nineteen eighties. Thus, Vladimir Gajšek, by way of associations, enumerates the majority of known interpretations of the theme of Icarus; Tone Pavček relates to the character of Icarus through the theme of death and the memory of his dead son; Ciril Zlobec presents the identification of modern man with the negative aspects of the mythological hero’s fate; while Drago Jančar, who deals with the theme of Daedalus and Icarus in two of his plays and one novel, characteristically associates the figures from Antiquity with actual historic characters.

The article deals with the recurrence of the theme of Daedalus and Icarus within European and Slovene literature. It is possible to discern common characteristics in this theme in literary works belonging to various historical periods. Thus in Antiquity authors generally emphasised the relationship between father and son in the mythological tale of Daedalus and Icarus; in the Middle Ages, the character of Icarus was mainly seen in a moralizing light, as an allegory of human vanity and conceit, while the Renaissance bestowed upon Icarus the role of a hero in love songs. In the period between Baudelaire and Joyce, both Icarus and Daedalus were primarily associated with the idea of the modern artist, who contemplates questions of life with great intensity, while the period after 1945 brought about new contextualizations of the mythological tale. Just as in the original mythological tale, subsequent literary portrayals of Daedalus and Icarus generally portray the two characters independently from one another. The difference between them manifests itself primarily through the contrast between youth and old age, and the contrast between the creative nature of poetry, on the one hand, which brings emotions to the fore, and science, on the other hand, which is based on reason. From this perspective, then, the character of Icarus is endowed with enthusiasm, ambition, courage, impetuosity, irrationality and sometimes even madness. He represents an extraordinary individual, who strives for an exalted ideal, which in turn becomes the very reason for his physical demise. He has an ambivalent nature: one can perceive him either as an arrogant figure or a hero. In contrast to Icarus, his father Daedalus is a skilled craftsman and artisan. He represents prudence, balance and reason, while striving for freedom of creation. In Slovene literature, a portrayal of the theme of Daedalus can be found in the poem of Janez Mihelič from the period of Enlightenment, while the character of Icarus appears in the title of one of Kosovel’s poems. Later on, the theme is mainly treated by authors of the nineteen eighties. Thus, Vladimir Gajšek, by way of associations, enumerates the majority of known interpretations of the theme of Icarus; Tone Pavček relates to the character of Icarus through the theme of death and the memory of his dead son; Ciril Zlobec presents the identification of modern man with the negative aspects of the mythological hero’s fate; while Drago Jančar, who deals with the theme of Daedalus and Icarus in two of his plays and one novel, characteristically associates the figures from Antiquity with actual historic characters.

THE FIRST VOLUME IN RICORDI'S PUCCINI EDITION Puccini. Manon Lescaut. Dramma lirico in quattro atti di Luigi Illica, Domenico Oliva, Parco Praga. Edizione critica a cura di = Critical Edition edited by Roger Parker. Tomo 1: Introductory materials and acts 1 and 2. (Le opere di Puccini, edizione critica = The of Puccini, critical edition, vol. III.) Milan: Ricordi, 2013. [Pref. by Gabriele Dotto in It. and Eng., p. vii-xiii; historical introd. and acknowledgments in It. and Eng., p. xv-xxxiii; sigla in It. and Eng., p. xxxv; characters, p. xxxvi; instruments, p. xxxvii; score, p. 1-405. ISMN 979-0-04139071-0; ISBN 978-88-7592-954-1. i308.65.]Giacomo Puccini. Manon Lescaut. Dramma lirico in quattro atti di Luigi Illica, Domenico Oliva, Marco Praga. Edizione critica a cura di = Critical Edition edited by Roger Parker. Tomo 2: Intermezzo, acts 3 and 4; appendices, sources, critical notes. (Le opere di Puccini, edizione critica = The of Puccini, critical edition, vol. III.) Milan: Ricordi, 2013. [Score, p. 407-550; appendices, p. 553-603; sources in Eng., p. 605-12; crit. notes in Eng., p. 613-24. ISMN 979-0-041-39071-0; ISBN 978-88-7592-954-1. i308.65.]Although Puccini's operas have been staples of the repertoire since their creation, his music has traditionally occupied a marginal position in academic discourse. Puccini's centenary (1958) inspired the first generation of modern academic research; a second wave of scholarship, lasting from the late 1980s through the mid1990s, brought Puccini's music closer to the mainstream. Between 1991 and 1996, two major monographs (William Ashbrook and Harold Powers, Puccini's Turandot: The End of the Great Tradition [Princeton, NJ: Princeton University Press, 1991]; Michele Girardi's analytical survey of the operas, Puccini: L'arte internazionale di un musicista italiano [Venice: Marsilio, 1995]), and three dissertations on Puccini appeared (Helen Greenwald, Dramatic Exposition and Musical Structure in Puccini's Operas [Ph.D. diss., City University of New York, 1991]; Deborah Burton, An Analysis of Puccini's Tosca: A Heuristic Approach to the Unifying Elements of the [Ph.D. diss., University of Michigan, 1995]; Linda Fairtile, Giacomo Puccini's Operatic Revisions as Manifestations of his Compositional Priorities [Ph.D. diss., New York University, 1996]), followed by several important reference works (Linda Fairtile, Puccini: A Guide to Research [New York: Garland, 1999]; Dieter Schickling, Puccini: Catalogue of the Works [Kassel: Barenreiter, 2003]). In the millennium, these earlier works were complemented by Alexandra Wilson's The Puccini Problem: Opera, Nationalism and Modernity ([Cambridge: Cambridge University Press, 2007], winner of the American Musicological Society's Lewis Lockwood Award, 2008) and by theoretical analyses of Puccini's music (Andrew C. Davis, Il trittico, Turandot, and Puccini's Late Style [Bloomington: Indiana University Press, 2011]; Nicholas Baragwanath, The Italian Traditions & Puccini: Compositional Theory and Practice in Nineteenth-Century Opera [Bloomington: Indiana University Press, 2011]). Currently, Puccini enjoys more widespread acceptance among musical scholars than ever before.Although the second wave of Puccini studies coincided with the new movement, the connection is less significant than it might at first seem. New musicology critiqued the academic canon of great works, great composers, and even the making of editions. The movement certainly created an environment in which it became harder to sneer at Puccini, and in which he became a logical subject for research.Yet emerging research on Puccini was less focused on critiquing the canon than on adding him to its ranks. Most of the landmarks of second-generation Puccini scholarship were chiefly committed to analyzing Puccini seriously through traditional approaches, such as composers' working habits, compositional strategies, or reevaluations of his life and works. …