Born in 1943, Robert Adamson is one of Australia's leading contemporary poets. Since the late 1960s, Adamson has published more than fifteen collections of poetry and has been the recipient of many awards and prizes - including the National Book Council's Banjo Award, the New South Wales Literary Awards' Kenneth Slessor Prize and the Victorian Premier's Literary Award for poetry, and the F.A.W. Christopher Brennan prize in 1994, for lifetime achievement in literature. This essay examines Adamson's twelfth collection of poetry, Waving to Hart Crane in light of the influence of French poet Yves Bonnefoy's examination of poetics and negativity on Adamson's poetics. Proceeding through close readings of individual poems and reference to secondary critical material and interviews, this essay examines the development of Adamson's poetic following the naturalism of the award-winning collection The Clean Dark to a more troubled interrogation with the negativity of poetic language and the representation of the natural world.

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For a long time, it was considered that Japanese popular music would not be received in Western market. However, based on the popularity of Japanese Anime and Manga in overseas market, Japanese popular music became popular lately particularly in Western countries. For example, some Japanese musicians were invited to some conventions in Western countries in these years. This kind of conventions introduce Japanese modern subculture such as Anime, Manga, popular music and fashion to Western consumers and gather over ten thousands people in a few days. Also, there are some music labels in Europe, which specialize J-rock (Japanese rock music). Some J-rock musicians made a contract with one of them and release their music in Europe. Focussing on the business side of the international music business, this paper shows how the development of Japanese popular music in Western market is carried out; mechanism, structure, and network of the music business.

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