In recent decades, Asian subsidiaries of Japanese manufacturing multi-national enterprises (MNEs) have faced heightened competitions from local firms to underscore the strategic importance of developing competent “host country nationals” (HCNs) to overcome their liability of foreignness. In addition, in recent literature on global MNEs, the importance of “boundary spanners” (BSs) has been pointed out in facilitating knowledge sharing across intra-organizational boundaries. Given these discussions, this study focuses on an interesting contingent relationship in the role of BSs observed in author’s interviews. (...) i.e., In cases of “bad BSs,” “knowledge appropriation” can take place where newly promoted HCNs would monopolize their knowledge and information, and the mitigating processes of notion gap problem in grey areas management are heavily stagnated. Whereas in cases of “good BSs,” “knowledge sharing” would take place where newly promoted HCNs would be willing to share them with other members, and the mitigating processes of the notion gap problem are steadily progressed. The study proposes a framework illustrating conditions under which HCNs choose knowledge sharing over appropriation. The analysis identifies two key factors influencing this choice: dependence on personal skills and prospects for growth opportunities. The findings suggest a dynamic relationship where knowledge sharing leads to effective control and efficient knowledge transfer, fostering virtuous cycles, while knowledge appropriation results in inefficiencies, creating vicious cycles. The study calls for further research on dynamic aspects of this contingent relationship and suggests practical strategies for shifting from knowledge appropriation to sharing, thereby enhancing organizational performance in foreign subsidiaries. (shrink)

BackgroundEach individual’s unique health-related beliefs can greatly impact the patient-clinician relationship. When there is a conflict between the patient’s preferences and recommended medical care, it can create a serious ethical dilemma, especially in an emergency setting, and dramatically alter this important relationship.Case presentationA 56-year-old man, who remained comatose after out-of-hospital cardiac arrest, was rushed to our hospital. The patient was scheduled for emergency coronary angiography when his adolescent daughter reported that she and her father held sincere beliefs against radiation exposure. (...) We were concerned that she did not fully understand the potential consequences if her father did not receive the recommended treatment. A physician provided her with in depth information regarding the risks and benefits of the treatment. While we did not want to disregard her statement, we opted to save the patient’s life due to concerns about the validity of her report.ConclusionsVariations in beliefs regarding medical care force clinicians to incorporate patient beliefs into medical practice. However, an emergency may require a completely different approach. When faced with a patient in a life-threatening condition and unconscious, we should take action to prioritize saving their life, unless we are highly certain about the validity of their advance directives. (shrink)

The French-Japanese movie Ai no corrida is one of the most controversial movies in the history of cinematography. Nagisa Oshima found inspiration in a famous true story from 1936 imperialist Japan and then his movie about a destructive passion without limits was presented at Cannes in 1976. L’Empire des sens, as the translation of the title in French referring to Barthes’s L’Empire des signes, is the story of a destiny and of a psychic structure. In the end of the (...) movie there is a powerful scene with an open air theatre and the image of a young girl who plays hide and seek with an old man and keeps asking him if he is ready or not, the old man saying not yet and then vanishing: here the eternized use of the object can be understood in the framework of what French psychoanalyst Jacques Lacan called forclusion. In the case of the psychotic structure there has never been an extraction of object a due to which the reality field could find its frame. And thus, the destiny of Sada Abe finds itself bounded to an object without cession and to its fulfillment in the Japanese kareiakana, that is clear open sky. Yet, since the phantasm is the writing of the non-sexual relation, as the subject’s entrance to the real, Oshima’s movie is not only about the phantasm, it is about the real. (shrink)

Between the mid-1960s and the early 1970s, the quotidian dimension took political centrality in Japan thanks to the leading role of the New Left movement and its ideology. This went hand in hand with an appreciation of the philosophical approaches of Marxist intellectuals such as Jun Tosaka and Gorō Hani, who saw the quotidian as a fundamental space for historical transformation. We know how Tosaka and Hani developed an everyday-centred philosophy of history through their writings, but we know little about (...) how formats other than the written word – such as cinema – contributed to thinking historical reality from the same ideological approach. To address this gap in our understanding, this article analyses the intersection of two highly representative films with Tosaka and Hani’s historical thought: Secrets Within Walls ( Kabe no naka no himegoto, Kōji Wakamatsu, 1965) and Ceremonies ( Gishiki, Nagisa Ōshima, 1971). These films’ cinematic allegorisation of post-war Japan’s everyday relationships was a way to reflect on the political character of that period. (shrink)

The Demon Women and Their Masquerades – a Few Symptoms of Japanese Cinema. The demon woman is a frequent theme in Japanese cinema, pertaining to more than an imaginary hypostasis of femininity. Jacques Lacan, in his brief and rare references to Japanese Cinema and particularly to Nagisa Oshima’s Realm of the Senses, points out the specific power of feminine eroticism which goes beyond the masquerade. This unanalysible power of japanese women is stated by Lacan within the context of what (...) he calls the sinthome in his analysis of James Joyce’s oeuvre. This paper is a psychoanalytical approach of Kenji Mizoguchi’s Ugetsu Monogatari based on the aforementioned concepts and elaborations. Wakasa, the main feminine character, is thus connected to Lacan’s views on Woman (femme), on the relation between the Phallus and the feminine masquerade and, ultimately, to the Real dimension of the phantom. (shrink)

Deleuze, Japanese Cinema, and the Atom Bomb establishes the first ever sustained encounter between Gilles Deleuze’s Cinema books and post-war Japanese cinema, exploring how Japanese films responded to the atomic bombings of Hiroshima and Nagasaki. From the early days of occupation and political censorship to the social and cultural freedoms of the 1960s and beyond, the book examines how images of the nuclear event appear in post-war Japanese cinema. -/- Using Deleuze’s taxonony of cinema, each chapter begins by focusing upon (...) one or more of three key Deleuzian themes – image, history and thought – before going on to look at a selection of films from 1945 to the present day. These include movies by well-known directors Kurosawa Akira, Shindo Kaneto, Oshima Nagisa and Imamura Shohei; popular and cult classics – Godzilla (1954), Akira (1988) and Tetsuo (1989); contemporary genre flicks – Ring (1998), Dead or Alive (1999) and Casshern (2004); the avant-garde and rarely seen documentaries. A series of tables clarify the conceptual components deployed within the text; and each film is illustrated with a number of stills. (shrink)

Maureen Turim _The Films of Oshima Nagisa: Images of A Japanese Iconoclast_ Berkeley: University of California Press, 1998 ISBN 0-520-20666-5 314 pp.