The Alien Within: Representations of the Exotic in Twentieth-Century Japanese Literature

Notes

N O T E S Introduction Epigraphs: Collins, “The Blues,” The Art of Drowning, 91; Smith, from “Portrait (2),” The Collected Poems, 121. 1. Sansom, The Western World and Japan, 172–179. 2. Figal, Civilization and Monsters, 33. 3. Sansom, The Western World and Japan. 4. Silverberg, Erotic Grotesque Nonsense, 122–142; see also, on the “foreign,” 227–230. 5. On the process of relativizing the self in the modern Japanese novel, see Fowler, The Rhetoric of Confession; Hijiya-Kirschnereit, Rituals of Self-Revelation; and Suzuki Tomi, Narrating the Self. 6. Oguma Eiji is representative of this trend among historians, although Oguma prefers the description of “sociologist.” For this type of analysis, see Oguma, “Nihonjin ” no kyökai. For literature, see Komori, Yuragi no Nihon bungaku. 7. The best book on ethical criticism of texts is Booth, The Company We Keep. 8. On this aspect of writing, see Booth, The Rhetoric of Fiction; and for Japanese literature, see Suzuki Tomi, Narrating the Self. 9. Maeda, Text and the City; and Kamei, Transformations of Sensibility. Kamei’s most recent book in Japanese which pursues the same kind of analysis is Meiji bungakushi (2000). 10. Tsuruta, The Walls Within. 11. Hutchinson and Williams, Representing the Other. 12. Napier, The Fantastic in Modern in Japanese Literature, 40–45, 54–55, 130–132. 13. My reading of Yanagita is available in Morton, Modern Japanese Culture, 54–103. 14. See, for instance, Becker, Gothic Forms of Feminine Fictions; and Spooner, Contemporary Gothic. 15. Tanizaki, Sasameyuki, pp. 46–54; The Makioka Sisters, 69–72. Chapter 1: Translating the Alien Epigraphs: Mahon, “The Last of the Fire Kings,” in The Penguin Book of Contemporary British Poetry, 75; Simic, “The Infinitely Forked Mother Tongue,” in Translations: Experiments in Reading, 33. 1. Hirakawa, Japan’s Love-Hate Relationship with the West, 100. 2. Mertz, Novel Japan, 101–118. 3. Ibid., 104. 4. Zwicker, Practices of the Sentimental Imagination, 166. 5. For details of the “German Shakespeare,” see Steiner, After Babel, 381–392; and Dennis Kennedy, “Shakespeare Worldwide.” 6. Brandon, “Some Shakespeare(s) in Some Asia(s),” 3. 7. Ibid. 8. Ibid., 7. 9. Ibid., 9. 10. Ibid., 12. 11. Ibid., 18–19. 12. Niranjana, Siting Translation, 34. 13. Ibid., p. 46. On Bhabha’s notion of hybridity, see further Loomba, Colonialism /Postcolonialism, 176–181. 14. Bhabha, The Location of Culture, 327. 15. Walter Benjamin, “The Task of the Translator.” 16. Kennedy, “Shakespeare Worldwide,” 262. 17. Ibid. 18. Ibid., 262–263. 19. Minami, Carruthers, and Gillies, eds., Performing Shakespeare in Japan, 112– 146 passim, 196–220. 20. Ibid., 206, 208. 21. Steiner, After Babel, 395–396. 22. One major English-language study of Tsubouchi Shöyö as a novelist exists, Ryan’s The Development of Realism in the Fiction of Tsubouchi Shöyö, but this book does not deal with Shöyö’s activities as a translator of Shakespeare. Henceforth, following Japanese practice, I will use the literary sobriquet “Shöyö” to refer to Tsubouchi Shöyö, whose actual given name was Yüzö. 23. Brandon, “Some Shakespeare(s) in Some Asia(s),” 7. 24. Miller, “Tsubouchi Shöyö,” 240–241. 25. Honma, “Tsubouchi Shöyö,” 1342. See also, Keene, Dawn to the West, vol. 1, 98. 26. For a representative essay on aesthetics by Shöyö, see “Bi to wa nani zo ya” (1886), translated under the title “What is Beauty” by Michele Marra in his Modern Japanese Aesthetics, 48–65. 27. Miller, “Tsubouchi Shöyö,” 242–243. 208 • Notes to Pages 10–15 28. Ömura, Tsubouchi Shöyö, 80–141 passim; Miller, “Tsubouchi Shöyö,” 244–245. 29. Shöyö also played a pivotal role as a theoretician of the novel. For details, see Ryan, Japan’s First Modern Novel. He was also a mentor to Futabatei Shimei (1864–1909), the “father” of the modern literary style; for details on Futabatei’s role in the development of the modern style, see Cockerill, Style and Narrative in Translations. 30. For details on Shöyö’s activities as a dramatist, see Keene, Dawn to the West, vol. 2, 410–417; and Poulton, Spirits of Another Sort, 94–101. 31. Miller, “Tsubouchi Shöyö,” 245. 32. Ibid., 246. 33. Milward, “Shakespeare in Japanese Translation,” 190. 34. Ibid. 35. Ömura, Tsubouchi Shöyö, 281–283. 36. Ibid., 283. 37. Steiner, After Babel, 294. 38. Ibid., 296, 298. 39. Ibid. 40. Ibid., 382. 41. Ibid., 300. 42. For details, see Loomba...