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Aimlessness has hardly been typical of the postwar Japan whose productivity and social harmony are the envy of the United States and Europe.

Ten years ago young people were hardworking and saw their jobs as their primary reason for being, but now Japan has largely fulfilled its economic needs, and young people don't know where they should go next.

In the past decade, the Japanese divorce rate, while still well below that of the United States, has increased by more than 50 percent, and suicides have increased by nearly one-quarter.

Last year Mitsuo Setoyama, who was then education minister, raised eyebrows when he argued that liberal reforms introduced by the American occupation authorities after World War II had weakened the "Japanese morality of respect for parents".

In a recent survey, it was found that only 24.5 percent of Japanese students were fully satisfied with school life, compared with 67.2 percent of students in the United States.

All the same, no thinking man can refuse to accept their first proposition: that a great change in our emotional life calls for a change of expression.

The coming of age of the postwar baby boom and an entry of women into the male-dominated job market have limited the opportunities of teenagers who are already questioning the heavy personal sacrifices involved in climbing Japan's rigid social ladder to good schools and jobs.

This, though it fulfills the laws and requirements of Futurist poetry, can hardly be classed as Literature.

This, in brief, is what the Futurist says; for a century, past conditions of life have been conditionally speeding up, till now we live in a world of noise and violence and speed.

With regard to Futurist poetry, however, the case is rather difficult, for whatever Futurist poetry may be — even admitting that the theory on which it is based may be right — it can hardly be classed as Literature.

But it is a little upsetting to read in the explanatory notes that a certain line describes a fight between a Turkish and a Bulgarian officer on a bridge off which they both fall into the river — and then to find that the line consists of the noise of their falling and the weights of the officers: "Pluff! Pluff! A hundred and eighty-five kilograms."

When a new movement in art attains a certain fashion, it is advisable to find out what its advocates are aiming at, for, however farfetched and unreasonable their principles may seem today, it is possible that in years to come they may be regarded as normal.

Naturally he will try to borrow money at a low rate of interest, but loans of this kind are not frequently obtainable.

He must use this surplus in three ways: as seed for sowing, as an insurance against the unpredictable effects of bad weather and as a commodity which he must sell in order to replace old agricultural implements and obtain chemical fertilizers to feed the soil.

Owing to the remarkable development in mass-communications, people everywhere are feeling new wants and are being exposed to new customs and ideas, while governments are often forced to introduce still further innovations for the reasons given above.

For example, they may encourage research in various ways, including the setting up of their own research centers; they may alter the structure of education, or interfere in order to reduce the wastage of natural resources or tap resources hitherto unexploited; or they may cooperate directly in the growing number of international projects related to science, economics and industry.

Additional social stresses may also occur because of the population explosion or problems arising from mass migration movements — themselves made relatively easy nowadays by modern means of transport.

For example, in the early industrialized countries of Europe the process of industrialization — with all the far-reaching changes in social patterns that followed — was spread over nearly a century, whereas nowadays a developing nation may undergo the same process in a decade or so.

Governments throughout the world act on the assumption that the welfare of their people depends largely on the economic strength and wealth of the community.

Under modern conditions, this requires varying measures of centralized control and hence the help of specialized scientists such as economists and operational research experts.

It also means that governments are increasingly compelled to interfere in these sectors in order to step up production and ensure that it is utilized to the best advantage.

Furthermore, it is obvious that the strength of a country's economy is directly bound up with the efficiency of its agriculture and industry, and that this in turn rests upon the efforts of scientists and technologists of all kinds.

Replies show that compared with other Americans, journalists are more likely to live in upscale neighborhoods, have maids, own Mercedeses, and trade stocks, and they're less likely to go to church, do volunteer work, or put down roots in a community.

Then it sponsors lots of symposiums and a credibility project dedicated to wondering why customers are annoyed and fleeing in large numbers.

If it did, it would open up its diversity program, now focused narrowly on race and gender, and look for reporters who differ broadly by outlook, values, education, and class.

The organization is deep into a long self-analysis known as the journalism credibility project.

Sad to say, this project has turned out to be mostly low-level findings about factual errors and spelling and grammar mistakes, combined with lots of head-scratching puzzlement about what in the world those readers really want.

There exists a social and cultural disconnect between journalists and their readers, which helps explain why the "standard templates" of the newsroom seem alien to many readers.

And should one country take upon itself the role of "defending competition" on issues that affect many other nations, as in the U.S. vs. Microsoft case?

Who is going to supervise, regulate and operate as lender of last resort with the gigantic banks that are being created?