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Endnotes
1. Peter Stallybrass and Allon White, The Politics and Poetics of Transgression (Ithaca, NY: Cornell University Press, 1986), 23.
2. Judy Bloch, Pacific Film Archive Film Notes, University of California, Berkeley, December 11, 2005.
3. Quoted in Wallace Stevens, Necessary Angel: Essays on Reality and the Imagination (New York: Vintage Books, 1951), 133.
4. Stallybrass and White, The Politics and Poetics of Transgression (Ithaca, NY: Cornell University Press, 1986), 23.
5. One ironic example of this (among many) is how Tokyo's most famous Buddhist temple, Sensôji, owes much of its modern-day popularity to the fact that it was once a way station on the road to Yoshiwara, the city's primary prostitution and pleasure district from the early seventeenth century, until it was closed in 1958.
6. For a description of these changes and their effect on literature, see, as an example, Maeda Ai's essay, “Haien no seirei” (The Spirits of Abandoned Gardens), describing Nagai Kafû's story “Kitsune” and the evolution of Tokyo's Yamanote highlands, in Maeda Ai, Toshi kûkan no naka no bungaku (Tokyo: Chikuma Shobô, 1982), 125–140.
7. I am referring here to the flâneur as defined, traditionally, by European writers such as Charles Baudelaire and Walter Benjamin and responded to by Japanese authors in the image of the tsû—which, as will be shown, is the closest Japanese approximation of this term. However, cosmopolitan writers such as Kafû and Kuki were very aware of the figure of the flâneur from their readings and experiences abroad and were not mimicking this Western term or translating it when they described the tsû—a term which dates back to the Edo period—in the writings.
8. Judith Butler, “After Loss, What Then?” in Loss: The Politics of Mourning, ed. David Eng and David Kazanjian, 468 (Berkeley: University of California Press, 2003).
9. M. M. Bakhtin wrote in his essay “Forms of Time and Chronotope in the Novel,” “Mythological and artistic thinking locates such categories as purpose, ideal, justice, perfection, the harmonious condition of man and society and the like in the past … [A] thing that could and in fact must only be realized exclusively in the future is here portrayed as something out of the past … The present and even more the past are enriched at the expense of the future [italics original].” The Dialogic Imagination: Four