here<\/a>.<\/p>\n\n\n\n[6] K\u014dki jiten <\/em>[Kanxi dictionary], Kodansha (1978): 859.<\/p>\n\n\n\n[7] As is well known, Komori, together with Ishihara Chiaki, helped initiate the important and controversial \u201cKokoro<\/em> debates\u201d of the mid-1980s. As another scholar has put it, \u201crebels showed up at the main gate to the palace [of traditional modern Japanese literary studies], battering ram in hand.\u201d For an extended discussion of these debates, and Komori\u2019s role in them, see Bourdaghs, Michael K., \u201cOverthrowing the Emperor in Japanese Literary Studies\u201d in The Linguistic Turn in Contemporary Japanese Literary Studies<\/em>, University of Michigan Press (2010): 1-17.<\/p>\n\n\n\n[8] Komori Y\u014dichi, Komori Y\u014dichi \u2013 Nihongo ni deau<\/em>, Taish\u016bkan shoten (2000) :167-9. Thanks to Kurihara Yutaka for first telling me about this text so many years ago.<\/p>\n\n\n\n[9] There is one glaring omission missing from this set of 31 illustrations: wagahai wa neko de aru <\/em>[I am a Cat], the title of another important book by Soseki and published between 1905-6.<\/p>\n\n\n\n[10] Shuntar\u014d Tanikawa. Hadaka: Tanikawa Shuntar\u014d shish\u016b<\/em> (Chikuma shob\u014d, 1988): 35-7.<\/p>\n\n\n\n[11] This translation is my own. For another English rendition see William I. Elliot and Kazuo Kawamura, Naked: Poems by Shuntaro Tanikawa<\/em> (IBC Publishing, 2006): 18-9.<\/p>\n\n\n\n[12] Tanikawa himself acknowledges the \u201cgayness\u201d of the poem. Speaking about \u201cKimi\u201d while engaging in a wide-ranging dialogue with Yamada Kaoru, he describes the poem as \u201cabsolutely gay\u201d (kanzen ni gei desu<\/em>), saying he himself had \u201cgay tendencies while in middle school\u201d (ch\u016bgakusei no koro ni gei no keik\u014d<\/em> ga atta kara<\/em>), Tanikawa Shuntar\u014d and Yamada Kaoru, Boku wa k\u014d yatte shi o kaitekita: shi to jinsei o kataru 1947-2009<\/em>, Nanaroku-sha (2010): 402. I would like to thank Yoshihiro Yasuhara, my colleague, for sharing this source with me over drinks one night. Thank you for allowing me to confirm my reading!<\/p>\n\n\n\n[13] Thomas LaMarre, \u201cPoetry and Characters,\u201d in Shadows on the Screen: Tanizaki Jun\u2019ichiro on Cinema & \u201cOriental\u201d Aesthetics<\/em>, University of Michigan Center for Japanese Studies, 2005: 26. The original, taken from \u201cShi to moji to,\u201d reads: \u8a69\u4eba\u306b\u53d6\u308a\u3066\u3001\u6587\u5b57\u306f\u307e\u3053\u3068\u306b\u5bf6\u7389\u306a\u308a\u3002\u5bf6\u7389\u306b\u5149\u3042\u308b\u304c\u5982\u304f\u3001\u6587\u5b57\u306b\u3082\u4ea6\u5149\u3042\u308a\u3001\u8272\u3042\u308a\u3001\u5302\u3042\u308a\u3002\u91d1\u525b\u77f3\u306e\u71e6\u721b