Supply chain strategy Essay Example | Topics and Well Written Essays - 2000 words

Supply chain strategy - Essay Example Supply chain management is the process undertaken by the companies so that they get their requisite raw materials in time. To have an effective supply chain management, companies are undertaking measures like Enterprise Resource Planning (ERP) or MRP (as the case may be) basically to reduce cost. Supply chain strategy is much broader compared to supply chain management. It can be referred as the strategies taken by the corporations so that they are aligned with overall business strategy to attain greater efficiencies. British Army is one of the most reputed armies in the world. Their roles have been recognised through out the world with great enthusiasm. Along with the defense of the United Kingdom, the troop is also bestowed responsibilities of guarding and ensuring lives of the citizens of different parts of the world. Therefore, proper supply chain management as well as supply chain strategy of the concern is extremely crucial for the organisation for smooth functioning. Organisation – To ensure effective supply chain, proper assessment of the organisational objectives and goals are very vital. The organisation as a whole should have enough flexibility to align itself with the supply chain strategies. Process – The process followed by the organisation is important as without integrating the procedures followed with in the organisation, the corporation can not expect to attain success in supply chain strategy e.g. British Army has certain fixed processes of doing things and therefore to have successful supply chain strategy, it must be able to align it with the supply chain strategy. Technology – In modern organisational perspective, technology holds supreme importance. Therefore to have an effective supply chain strategy, the technological factors should be properly assessed and all possible assistance should be taken. People – People should be selected in such a way that it befits the supply chain

Harmonized Code Assignment Example | Topics and Well Written Essays - 500 words

Harmonized Code - Assignment Example to be a net foreign exchange earner however, they will not in any way be subjected a pre- determined value addition or any form of minimum export performance (CBP). In terms of the domestic tariff area by the special economic zones have to be a net foreign exchange earner. However the units in the Zone will have to be a net foreign exchange earner and will not be subjected to any predetermined value addition or the export performance requirements. The sales in the domestic tariff centre will also be subjected to the payment of full custom duty and the import policy which will be in force. The policy that has been used in this case provides for setting up of the special economic zones in the public, private, the joint sector and the United States government. It is also worth to note that some of the export processing zones will be converted in to special economic zones. In the same way, the government has export processing zones that are located in most of the countries it does business with. So in the case where there are 202 countries in falling under the general tariff of 0.8 there will be 4 sections with 20 chapters depending on the number of tariffs that are required in each section

William Paleys Teleological Argument Research Paper

William Paleys Teleological Argument - Research Paper Example When a watch that has an intricate design and function exists, a creator or designer for the watch also exists. Therefore, the existence of the universe and living beings in it uphold the belief that there is someone behind their creation and that creator is God. This can further be discerned from the fact that without a creation no creation is possible. Paley’s view is that a watch has several metal parts and each has a distinct place and function in making the machine work. He then puts forth a reasonable argument that of the alignment is disturbed or if even a tiny part of misplaced, the watch will cease its function. If one puts together bits and pieces of metals and waits for an eternity, the particle will not join together and make a watch and, therefore, it transpires that behind the watch there is a designer who has put the right things in the right place to achieve alignment for the machine to work. He compares the universe to a similar phenomenon, which needs to have a designer to make such a scheme of things to work and argues that God is the designer, which is a tenable contention. Anselm argues that to understand God a human must first believe in Him and without belief understanding does not occur and one cannot hope to first understand God and then believe in Him. He asserts the Christian faith that God is a bei ng â€Å"than which none greater can be conceived† (Oppenheimer & Zalta 2) and, thus, he contends that since God represents perfection, this very notion implies the His existence. In Anselm’s view, belief is the means to understand God and not the end one pursues through understanding God. Thus, if one believes in God, one can feel the presence of God but one cannot aspire to feel the presence of God and then believe in Him. His philosophy emphasizes the ideals of Christian faith, which believes that there is no being greater than God.

Pilchard Impact and Requirement Essay Example for Free

Pilchard Impact and Requirement Essay Pilchard or sardines are groups of small fishes which belong to the herring family. They are caught almost throughout the year especially in the night. Pilchards are rich in minerals and they are usually consumed in different ways. They are also referred to as low-value pelagic species. Pilchard and Tuna The introduction of tuna farming had a major impact on pilchard hunting simply because it was found to be a major source of food for the tuna. This resulted in an increase emphasis on pilchard research and farming. Pilchards are mostly used to feed carnivorous fishes such as tuna, trout and salmon. Pilchard farming requires marine scalefish fishers, not targeted for recreational purposes, provides feeds for predator species such as salmon, and tuna, fishing methods (use of small mesh and fishing done by night), and pilchard farming done in temperate waters. Pilchard farming is of great economic importance. About 20 pounds of pilchard is required to produce a pound of tuna, indicating a resource-intensive form of producing tuna and depleting the stock of small fishes. This will ultimately disrupt the aquatic ecosystem in that it will not only affect the fishes alone but marine mammals and seabirds directly or indirectly. Some documentation about the introduction of viral infection into the aquatic ecosystem has been documented. Several factors such as ecological integrity, social justice and status of the pilchard population must be maintained. Pilchard and Dolphins Dolphin swim license is indirectly related to pilchard in that pilchard is not farm for ecological purpose, and dolphin only feeds on them as an opportunistic predator. Dolphin feeding on pilchard will cause a major and drastic decrease in their population and subsequently leading to enormous financial loss. Conclusion Considering the immediate need for tuna fishes and the relationship between the fish and pilchard, the tuna license should be granted while licensing dolphin swim should not be allowed because of it the negative impact on the aquatic ecosystem, and associated financial loss. References Lopez, D. (2005). â€Å"Interaction between bottlenose dolphins and fish farms: could there be an economic impact†. Retrieved May 23, 2009 from http://www. thebdri. com/resources/downloads/ICES2005X10. pdf PIRSA Fisheries, (2009). â€Å"Sardine (Pilchard) fishery†. Commercial fishing Retrieved May 23, 2009 from http://www. pir. sa. gov. au/fisheries/commercial_fishing/sardine_pilchard_fishery Primary industries and resources, (2009). â€Å"Ecological assessment of the south Australian pilchard fishery†. South Australian fisheries management series. Retrieved May 22, 2009 from http://www. pir. sa. gov. au/__data/assets/pdf_file/0006/12858/sa_pilchard_submission. pdf Stuart, N. (2001). â€Å"Tuna farmers face fresh challenges†. Landline Retrieved May 23, 2009 from http://www. abc. net. au/landline/stories/s363097. htm

The Importance of Loss in Scott Fitzgeralds Winter Dreams Essay

The Importance of Loss in Scott Fitzgerald's Winter Dreams      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In the traditional Romance narrative, there is some desirable object whose consummation is the driving preoccupation of the text's protagonist. The aspiration of the Romantic hero is to capture that elusive object that will, nevertheless, consistently out-strip him. These heroes are intimately acquainted with the pain of the loss and suffer deeply for feeling so acutely. However, loss itself, is essential to the equation and is, in fact, a large portion of what establishes the thing as desirable.    In the texts of traditional Romanticism the individual has preeminence, and his or her subjective psychological experience with the loss in question is the major concern. The realization that Romantic subject's drama plays itself out against the backdrop of a system in which the value of a thing is directly proportionate to its scarcity, is the first step beyond traditional Romanticism. Realist texts are conscious of the shaping influence that the socio-political has on the individual's ideology - They are consciousness of the impact of Capitalism. The industrialization of that era (late 19th, early 20th century), and the subsequent commodification of everything, creates the crisis of self. The central questions that arises in these contexts concerns the extent to which the individual can be perceived as individual, capable of imaginative aspirations outside the economic determinism of his society. The central question to Realist authors is: Are we dealing with the loss o f actualized selves or merely cogs, and if the latter is the case, what have we lost?    With this question still relatively unanswered, Scott Fitzgerald's "Wi... ...ve (though not the grief itself). He wants to care. Fitzgerald makes his readers care about "the loss of illusions that give such color to the world" - those exquisite "winter dreams" (Preface, Gatsby XV). He compels us to ask the two great Keatsian questions: Was it a vision, or a waking dream? Fled is that music:- Do I wake or sleep? Ode to the Nightingale, Stanza 8    Bibliography Fitzgerald, F. Scott. "Winter Dreams." in The Norton Anthology of American Literature. Ed. Nina Baym. 4th Edition. New York/London: W.W. Norton & Company, 1999. 2125 - 2141. Fitzgerald, F. Scott. The Great Gatsby. New York: Scribner Paperback Fiction, 1925. Hegel, G.W.F. Encyclopedia of Philosophical Sciences. New York: Continuum, 1990. Jameson, Fredric. Postmodernism or the Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991.

Character Analysis: Pride and Prejudice Essay

In the beginning of reading this classic love story, I could have fallen asleep while reading and I actually did; but while the story went on it grew more interesting I couldn’t put my book down. The pride and prejudice referred to in the title of this Jane Austin novel prepare the reader for the character flaws of the main characters, Miss Elizabeth Bennet and Mr. Fitzwilliam Darcy. Elizabeth’s pride and Mr. Darcy’s prejudice prevent the two from recognizing and admiring their love for one another. And all the same, I truly believe that Elizabeth mistakes Mr. Darcy’s pride because, she herself is just as stubborn as he. Jane Bennet is the eldest Bennet sister. Twenty-two years old when the novel begins, she is considered the most beautiful young lady in the neighborhood. Her character is contrasted with Elizabeth’s because she is sweeter, shyer, and equally sensible, but not as clever, but her most notable trait is a desire to see only the good in others. Jane seems to be her mother’s favorite because of her beauty, which Mrs. Bennet brags and boasts about often. Elizabeth is around the age of twenty in the novel. Her family calls her â€Å"Lizzy†, her friends and neighbors call her â€Å"Eliza†, and the narrator usually calls her â€Å"Elizabeth†, but her mother never calls her Elizabeth. She is an intelligent young woman who is described as having â€Å"a lively, playful disposition, which delighted in any thing ridiculous†. She often presents a playful good-natured impertinence, which does not offend. Early in the novel she is depicted as being personally proud of her mental quickness and her acuity in judging the social behavior and intentions of others. Elizabeth is the second of five sisters and her father’s favorite, and is described by him by having â€Å"something more of quickness than her sisters†; though she is often distressed and embarrassed by the behavior of her mother and of her younger sisters. Mr. Fitzwilliam Darcy is an intelligent, handsome, wealthy and reserved gentleman, who often appears snooty or proud to strangers and is the owner of Pemberley. Mr. Darcy’s inflated personal pride, snobbish indifference and arrogance cause him to consider Elizabeth Bennet as unworthy and plain, â€Å"tolerable† and â€Å"not handsome enough to tempt him.† However, afterwards he becomes attracted to Elizabeth, and courts her clumsily or â€Å"against his better judgment,† while struggling against his continuing feelings of superiority. His arrogance and rudeness enhance his desirability, and they are reconsidered later as a sign of his bottled-up passion for Elizabeth. Women love Mr. Darcy because: 1. He is open and honest 2. He is not defensive at all 3. He does not try to change her but likes her â€Å"just the way she is† 4. He knows how to listen 5. He knows how to apologize 6. He is not afraid to change 7. He defends Elizabeth publicly 8. He does something extraordinary and he keeps quiet about it 9. He can be engaging 10. He has a private reputation of kindness and goodness Bingley is a man of few and very mild principles, whose easiness of temper and want of proper resolution impair his worth in Eliza’s eyes. Bingley lacks Darcy’s pride or self-importance. He values Jane’s beauty and her good nature, which matches his own character. He feels free to pursue his interest in Jane only after his two sisters have given their approval, but his ultimate standard of reference is Darcy. He submits to Darcy’s objections about the marriage, and because of this, many call Mr. Bingley spineless. It is Darcy’s authority that ultimately determines Bingley’s choice in life, supported by Jane’s physical appearance and pleasant character. Even after learning that Darcy had concealed from him the truth about Jane’s presence in London and after Darcy encourages him to revive the relationship with her, Bingley still wants Darcy’s active approval before proposing to Jane.

Osamu Dazai Essay

Osamu Dazai was one of Japanese novelist and considered one of the most important storytellers of postwar Japan. While known primarily as a novelist, Dazai also earned recognition for his numerous short stories, including â€Å"Omoide† (â€Å"Memories†), â€Å"Sarugashima† (â€Å"Monkey Island†), and â€Å"Ha† (â€Å"Leaves†), which were published in Bannen, his first collection of short stories. Like most of his longer fiction, Dazai’s short stories are autobiographical and reflect a troubled life marred by alcoholism, drug addiction, and several suicide attempts. Nevertheless, Dazai’s fiction showcases his artistic imagination and unique confessional narrative technique. Dazai was born the youngest of ten children in Kanagi, a small town in northern Japan, to one of the wealthiest families in the region. While Dazai’s later years were turbulent, he grew up a sensitive child in comfortable surroundings. Later in his life , however, his wealthy background led to self-consciousness, contributing to a nagging sense of isolation that is an undercurrent throughout his fiction. Dazai underwent his apprenticeship in writing during the 1920s while attending secondary schools in Aomori and Hirosaki and published many of his early stories in magazines founded and run by aspiring young authors. By the time he attended Hirosaki Higher School, however, Dazai began to live the unconventional lifestyle that brought him much fame. Despite his widely recognized talent, however, alcoholism, drug addiction, affairs with geishas, suicide attempts, and frequent psychological traumas plagued him the rest of his life. In 1930, Dazai enrolled in the Department of French Literature at Tokyo University, but by the end of his first year, he ceased attending classes. Instead, Dazai became involved with left-wing politics, caroused, and renewed his relationship with a geisha he met while attending Hirosaki Higher School. His family disapproved of this relationship, leading to one of Dazai’s suicide attempts. He attempted to take his own life on at least three other occasions and finally succeeded in a double suicide with a young war widow in 1948. This episode, among several instances of double suicide in Dazai’s fiction, is retold in his widely acclaimed novel, No Longer Human. Dazai’s highly autobiographical fiction first garnered popular and critical attention after the publication of his first collection, Bannen (The Final Years). The first and most significant of these stories is â€Å"Omoide† (â€Å"Memories†). With its highly personal tone, â€Å"Memories† reveals a common narrative technique in Dazai’s writing. Revealing his childhood and adolescent traumas, as well as his need for companionship and love, Dazai’s first-person narrative attracts the reader’s sympathy while raising doubts about the authenticity of the narration beca use of exaggerated rhetoric. â€Å"Gangu† (â€Å"Toys†), another tale in Bannen, illustrates Dazai’s playfulness. In this tale, the narrator — after briefly relating his financial troubles — details his plans to concoct a tale recounting the memories of an infant. While these and other early pieces exemplify the personal tone of much of Dazai’s work, another group of tales shows his talent for imaginative storytelling. Two tales — â€Å"Gyofukuki,† translated as â€Å"Metamorphosis,† and â€Å"Sarugashima,† translated as â€Å"Monkey Island† — provide good examples of this. In place of the Dazai like protagonist present throughout most of his other short fiction; â€Å"Metamorphosis† is about a peasant girl who, on the verge of puberty, takes on the appearance and identity of a fish. â€Å"Monkey Island† presents two humanoid monkeys as its protagonists. In astonishment, one of the monkeys soon realizes they are the objects of attention, rather than the spectators, of the humans walking through the zoo. In his final years, he composed a series of stories that evince his interest in domestic issues, as titles such as â€Å"Villon’s Wife,† â€Å"Father,† and â€Å"Family Happiness†Ã¢â‚¬â€suggest. As critics have remarked, the stories of these collections are among the few works of artistic value produced by a Japanese author under the strict government censorship during World War II. While famous in Japan and avidly read — especially by the younger generation — Dazai has not achieved the international stature of Japanese writers such as Natsume Sseki, Kawabata Yasunari, Mishima Yukio, and End Shusaku. This is partly due to problems with translating Dazai’s highly personal style. Yet Dazai has earned himself a position in modern Japanese letters more or less comparable to that of an F. Scott Fitzgerald, as opposed to a William Faulkner, in modern American literature. Donald Keene, Dazai’s principal English translator, has described him as a Japanese writer â€Å"who emerged at the end of World War II as the literary voice of his time.† While Dazai’s body of work is sometimes criticized for its narrow scope, many critics maintain that h is fiction contains some of the most beautiful prose in modern Japanese literature. Dazai became celebrated for two short novels, The Setting Sun and No Longer Human, both translated into English. I read both of them back when I was reading all the Japanese fiction I could get my hands on, but did not care for either, and have not read either again. The Setting Sun was published in 1947, and is set in those years shortly after the end of the war. It was a very popular novel, and the title came to represent Japanese of the upper classes who had fallen because of the war and American occupation. But Dazai was already well known for personal characteristics reflected in the major characters as well–nihilism, drunken dissipation, despair (a kind of model for our hippie generation)–so, although the central character is a young woman, Kazuko, the novel is read as strongly autobiographical. This is true for No Longer Human, too, which is perhaps even more autobiographical, and, as Donald Keene describes it, is â€Å"an attack on the habits and traditions of Japanese society, but above all †¦ a record of his alienation from society.† (1063) I was not attracted to the narcissistic qualities in these two novels, or to the fact that Dazai, after having failed in two previous love suicides (in which the women succeeded) succeeded in a love suicide June 13, 1948 (he and the woman drowned in the Tamagawa Reservoir). I just didn’t much like him or his characters–never used those novels in courses I taught. But I did use one of his short stories, Villon’s Wife, several times, because it was in the anthology I most frequently used in the survey course of Japanese Literature, Donald Keene’s Modern Japanese Literature, and I actually came to like that story very much (sort of like Oe’s The Catch, the exception that proves the rule). The husband in the story may be the closest self-portrait of all, and the most despicable, in his drunken dissipation, unfaithfulness, and unforgivable treatment of his wife, but the story is told by the wife, who, in her attempts to accommodate herself to all of this comes through as an attractive and courageous character–and you realize that even Dazai, in his more sober moments perhaps, must have appreciated her virtues. Anyway, that’s the one I recommend–then, if you want to read either, or both, of the novels, you will be reading fiction that was very popular in Japan in the decade after the end of the war, and may, indeed, reflect some of the values in flux in that traumatic time, particularly for young Japanese who would have seen themselves as having lost everything. I will be comparing Akutagawa to Edgar Allan Poe next month for their short lives and some of the qualities of their fiction, and it is easy to compare Dazai to Akutagawa (1892-1927), as well . Akutagawa was more of Tanizaki’s generation, but died in his late 30s, as a suicide, as Dazai did. But, I am happy to say, I am very fond of Akutagawa–a highly disciplined literary artist. (MAIN BODY) â€Å"NO LONGER HUMAN† This book, by Osamu Dazai, is an example of the Japanese genre of shishosetsu, a kind of autobiographical fiction. It’s different from what we think of as autobiography, in that the purpose is not so much to tell a story – there is no real emplotment, beginning, middle, end in the traditional (or Aristotelian) sense, but rather, the text is a sort of rambling exploration of the self. Style is de-prioritized, sincerity and immediacy are tantamount. There is no constrained form, but rather, an attempt to establish a direct link between author and reader, to explain a particular perspective. The book is largely autobiographical, based on events from Dazai’s own life. He was a literary rock star, but a deeply miserable guy, attempting suicide several times before finally succeeding. There’s actually a monument at the spot where he killed himself (along with his mistress), and apparently people gather there on the anniversary of his death every year. In any case, the book itself is interesting. It makes me want to learn Japanese, for starters, because no matter how great the translator, there’s no getting around the fact that the grammatical structure of Japanese is completely different from that of English, most importantly, for this book perhaps, in that it is entirely possible, and even common, to construct a sentence in Japanese with no subject. Apparently the entire book is written in this form, which would be particularly appropriate to the work itself. Though I wonder if the Japanese reader would really think of this as particularly artful, given that it’s apparently a standard thing to them. But I guess that’s a question for psycho-linguists to answer. The book is the related story of a very unhappy guy who is essentially chronicling his downward spiral. Though it’s hard to say if it’s really a downward spiral – though he does pinpoint a moment at which he ceased to be human, itâ €™s not entirely clear that he was ever really human (by his own definition) to begin with. One question is what it means, in his eyes, to be human. There is a clear parallel to Notes from the Underground (Dazai was big into Dostoevsky, and the main character refers to Crime and Punishment), in that both are notes from deeply unhappy men who are convinced of their own uniqueness, but there are definitely differences. Dostoevsky’s character is raging against rationality, and the way in which it dehumanizes people, so in a sense, though he calls himself a mouse, etc, he could be seen as claiming that he is really the only human. Dazai’s character, Yozo, sees himself as inhuman, mainly, it seems, because he lacks certain basic human traits. He claims, for instance, that he has never felt hungry. However, there is also a certain issue of domination at play – he is unable to say no to anyone, to turn down anything. In this sense, one could say that he is entirely determined by the outside world. Despite the fact that he has an inner life, he keeps it hidden from the outside world. In fact, his behavior is entirely, he claims, an act, he â€Å"plays the clown† for the amusement of others, refusing to let his own feelings show. But I’m not certain if this is really the case. For instance, he wants to be an artist, and actually disobeys his father in order to pursue his artistic career, and confesses to the other authority figure in his life, Flatfish, that he wants to make art. So it seems as though the masking process is incomplete in this case, and at times he does behave authentically. I wonder if the same could be said for the Underground Man? I think that it’s slightly different in his case, in that the construction of the Underground Man is such that he can’t behave authentically, because he has no stable self. Yozo, on the other hand, certainly has an inner life, it’s just a rather empty one. He doesn’t seem to have any real will of his own, or rather, the will that he does have is purely towards self-destruction – he can get booze and drugs, and drink himself into a stupor, without any difficulties. But then again, he also seems to have a brief lull of happiness, directly following his marriage. But even there, it’s hard to say if he’s happy. Maybe it’s most accurate to say that he is so constructed as to be incapable of happiness? Hmmm. There’s more thinking to be done here. Unfortunately, I seem to like each Dazai Osamu (1909-1948) book less than the previous one. No Longer Human (Ningen Shikkaku, 1948) is more epigrammatic that The Setting Sun (Shayo, 1947), but perhaps I am too old for it (as I was once too young to read Proust) to be much moved for the plaint of a creature too delicate for the world. I can’t muster sociological interest in it as social history of the 30s either, since dissipitation is basically timeless (though the preferred means vary). I read the epilogue differently from translator and longtime Columbia professor Donald Keene: as showing the notebook’s writer was successful at mimicking good nature, not that his widow is right and the writer wrong. (â€Å"In the way that most men fail to see their own cruelty, Yozo had not noticed his gentleness and capacity for love†-p. 9; really? a capacity for love? and gentleness? or solipsism mixed with diffidence?) I am not so sure that Keene was right that the Japanese â€Å"are certainly much more like Americans than they are like their ancestors of one hundred years ago. As far as literature is concerned, the break with the Japanese past is almost complete† (p. 7), though this is more credible now than it was six decades ago. Dazai seems very traditionally Japanese to me in many ways, a descendant of Sei Shà ´nagon both in wit and to some degree in aesthetics (Dazai is still plenty delicate and fairly indirect, even about what she would have considered vulgar and even sordid matters, very regretful and very perishable). Would Keene have been moved to translate Dazai, if there was nothing of the Japanese tradition that Keene venerates in Dazai? Let alone, recall translating Dazai â€Å"as if I were writing a book of my own,† an experience he only otherwise had with Kenkà ´Ã¢â‚¬â„¢s Essays in Idleness (On Familiar Terms, p. 189). I like Keene’s characterization of Yozo as a man â€Å"who is orphaned from his fellows by their refusal to take him seriously† (p. 8, see p. 139), which in turn is a result of his desperate clowni ng. Of course, this resonates with my experience of people not believing I could possibly be serious when I am, and feeling I’m not like other people, incapable of â€Å"getting by.† And â€Å"unusual or extravagant things tempt me† (p. 23). It is interesting that someone who felt himself different from an early age and for whom â€Å"it would be no exaggeration to say that my only playmates while I was growing up were girls† (48) became a diffident lady-killer rather than a homosexual. Ã…Å'ba cannot forget his abuse by a female servant when he was young. In high school, he played the buffoon. At university, he finds bad influence from Horiki and leads a life of debauchery (nonstop smoking, alcohol abuse, promiscuity), culminating in a double suicide (it cannot seriously be billed a â€Å"love suicide†) in which the married woman drowns and he survives. After being expelled from the university, Ã…Å'ba is â€Å"clan and sober† for a time in a relationship with an innocent young woman, but Horki shows up and leads Ã…Å'ba back into temptation, now adding morphine to alcohol abuse and being incarcerated in a mental asylum, where he is numb rather than violent. As for being zombified by Japan’s defeat, Dazai seems to me to have been as self-destructive and intellectually nihilistic while the Japanese Empire was rising as in the general anomie after Emperor Hirohito renounced divinity and the US occupied the archipelago. (Imamura’s â€Å"Pigs and Battleships† show some of this social breakdown and women who were better at surviving it than the men.) The original publication sold more than six million copies in Japan, more than any Japanese novel other than Kokoro (1914) by SÃ… seki Natsume. A manga version was published in 2009, the centenary of Dasai’s birth, and also filmed. (CONCLUSION) Attending Meiji Gakuin University from the age 15 to 19, Toson gradually became aware of literature under the influence of unconventional traditions of the school. Toson literature is even said to originate during his days at the university. Toson joined Bungakukai, a literary group, and as a romantic poet, published a collection of poems including Wakanashu. Later, Toson turned a novelist and published Hakai (â€Å"The Broken Commandment†) and Haru (â€Å"Spring†), and is thus regarded as a prominent naturalist novelist. His other works include, Ie (â€Å"Family†), considered to have achieved the highest level in Japanese Naturalism literature, Shinsei (â€Å"New life†), a confession of his own incestuous relationship with his niece, Yoakemae (â€Å"Before the Dawn†), a historical novel modeled on the life of his father. Altbough he began his serialization of Tohonomon (â€Å"The Gate of the East†) in 1943, he died of a stroke at his own hom e in Oiso, Kanagawa prefecture on 22nd of August. (BIBLIOGRAPHY LIST) Dazai, Osamu, and Donald Keene. No Longer Human. Tokyo: Charles E. Tuttle, 1981. Print. Lyons, Phyllis I., and Osamu Dazai. The Saga of Dazai Osamu: a Critical Study with Translations. Stanford, CA: Stanford UP, 1985. Print. Hachimaki, Emi. â€Å"ä º ºÃ©â€"“å ¤ ±Ã¦   ¼.† é â€™Ã§ © ºÃ¦â€"‡å º «Ã£â‚¬â‚¬Aozora Bunko. Aozora, 1 Jan. 1999. Web. 15 Nov. 2011. . (REFERENCE) http://kirjasto.sci.fi/dazai.htm http://www.jlit.net/authors_works/dazai_osamu.html http://wlc.drake.edu/wordpress/japanese/2010/02/28/osamu-dazai%E3%80%80%E5%A4%AA%E5%AE%B0%E6%B2%BB%EF%BC%89/