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[32]Koven,Mikel J.2008.Film,Folklore and Urban Legends.Lanham,MD:Scarecrow. [33]Saijo Tsutomu.2009.Sen to Chihiro no shinwagaku.Tokyo:Shintensha. [34]Reider,Noriko T.2005.“Spirited Away:Film of the Fantastic and Evolving Japanese Folk Symbols.”Film Criticism 29(3):4-27. [35]Yanagita Kunio.1968.Teihon Yanagita Kunio shu.Vol.4.Tokyo:Chikuma shobo. [36]Blacker,Carmen.1967."Supernatural Abductions in Japanese Folklore."Asian Folklore Studies 26(2):111-48. [37]Komatsu Kazuhiko.1991.Kamikakushi:Ikai karo no izanai.Tokyo:Kobundo. [38]译注：Constituent parts，亦可译作「组成部分」。 [39]博伊德和西村还指出「民俗和日本神道的思想也根植于在影片的文化词汇之中」。他们在禊祓（净身）信仰这方面进行了深入探讨。但我对他们的评价抱以异议，我认为这些不过是「思想(perspectives)」而已，影片不过是模糊地参考了一个世界观，而不是对可识别的宗教行为的直接引用。参见Boyd,James W.,and Tetsuya Nishimura.2004.“Shinto Perspectives in Miyazaki’s Anime Film Spirited Away.”Journal of Religion and Film 8(2). [40]Reider,Noriko T.2005.“Spirited Away:Film of the Fantastic and Evolving Japanese Folk Symbols.”Film Criticism 29(3):4-27. [41]2014年，在我所教授的印第安纳大学的民俗学本科课程上，有一位学生作了一份关于雅加婆婆的报告。报告中，学生解释道，这个传说人物不仅出现于俄国或斯拉夫人的民俗之中，日本民浴中也有一个类似的形象「汤婆婆」，她随即展示了一张《神隐少女》的电影截图。在不同的语境下，像这种人物创作的类民俗被杰弗里·托尔泊特（Jeffrey Tolbert)描述为「反向示意」，「它牵涉新的创作，新的没有连续性的体验；还涉及将这些元素组成一部『传统』叙事的语料库，以现有的民俗作为模版（但却完全不求助于任何特定的传统）」 [42]编注：「蓖」通「篦」，音必，在中文是一种比梳子密的梳头用具，称「篦子」。 [43]Machacek,Gregory.2007.“Allusion.”PMLA 122(2):522-36. [44]Santino,Jack.1992.“Yellow Ribbons and Seasonal Flags:The Folk Assemblage of War.”Journal of American Folklore 105(415):19-33.还可参见Santino,Jack.1986.“The Folk Assemblage of Autumn:Tradition and Creativity in Halloween Folk Art.”In Folk Art and Art Worlds,edited by John Michael Vlach and Simon Bronner,151-69.Ann Arbor:UMI Research Press. [45]Shukla,Pravina.2008.The Grace of Four Moons:Dress,Adornment and the Art of the Body in Modern India.Bloomington:Indiana University Press. [46]Bauman,Richard.2004.A World of Others'Words:Cross-Cultural Perspectives on Intertextuality.Malden,MA:Blackwell. [47]Barthes,Roland.1979.“From Work to Text.”In Textual Strategies:Perspectives in Post-structuralist Criticism,edited by Josue V.Harari,73-81.Ithaca:Cornell University Press. [48]Culler,Jonathan.1976.“Presupposition and Intertextuality.”MLN 91(6):1380-96. [49]Bauman,Richard.2004.A World of Others’Words:Cross-Cultural Perspectives on Intertextuality.Malden,MA:Blackwell. [50]ōtsuka Eiji.2001.Teihon monogatari shohiron.Tokyo:Kadokawa shoten. [51]转引自Azuma,Hiroki.2009.Otaku:Japan’s Database Animals.Translated by Jonathan Abel and Shion Kono.Minneapolis:University of Minnesota Press. [52]同注[35]。 [53]Azuma,Hiroki.2009.Otaku:Japan’s Database Animals.Translated by Jonathan Abel and Shion Kono.Minneapolis:University of Minnesota Press. [54]Culler,Jonathan.1976.“Presupposition and Intertextuality.”MLN 91(6):1380-96. [55]严格说来，东浩纪的论著探讨的是日本流行文化中特定的歴史时期中特定的消费对象，比如动画和漫画，他特别关注的是当代人热衷于消费非叙事性作品的现象。但是他提出的数据库的比方有着更广泛的意义，可以用于描述日本海内外的类民俗作品。 [56]Grobman,Neil R.1979.“A Schema for the Study of the Sources and Literary Simulations of Folkloric Phenomena.”Southern Folklore Quarterly A3(l-2):17-37. [57]Culler,Jonathan.1976.“Presupposition and Intertextuality.”MLN 91(6):1380-96. [58]Foley,John Miles.1991.Immanent Art:From Structure to Meaning in Traditional Oral Epic.Bloomington:Indiana University Press. [59]佛利的「传统指示性(traditional referentiality)」和「内在艺术(immanent art)」的概念虽然是在口头叙事理论的语境中提出来的，但和本文所讨论的典故有着巨大共通之处。参见注[53]。 [60]饼干桶公司在官网上就有所表示，他们腾出了商店的空间去保存这些「手工艺品」，「我们希望每一家饼干桶老乡村店能成为一座美国文物的博物馆」，「一步一歩地进行复原」。参见 http：//www.crackerb3arrel.com/store/explore-our-decor/restoration-step-by-step/ (2015年6月16日）。 [61]参见Cashman,Ray.2006.“Critical Nostalgia and Material Culture in Northern Ireland.”Journal of American Folklore 119(472):137-60.和Foster,Michael Dylan.2009.“Haunted Travelogue:Hometowns,Ghost Towns,and Memories of War.”Mechademia 4(1):164-81. [62]Dorson,Richard M.1971.American Folklore and the Historian.Chicago：University of Chicago Press. [63]商业并非类民俗的唯一追求，可以参见托尔伯特对瘦长鬼影的都市传说的讨论：Tolbert Jeffrey A.2013.“The Sort of Story That Has You Covering Your Mirrors’：The Case of Slender Man.”Semiotic Review,no.2:Monsters; http://semioticreview.com/index.php/thematic-issues/issue-monsters/22-the-sort-of-story-that-has-you-covering-your-mirrors-the-case-or-slender-man. [64]其实，从类民俗到大众认可的民俗的这样一种运动，水木茂创作的妖怪漫画，将妖怪（重新）转化为20世纪的流行幻想就是典范，代表作有《咯咯咯的鬼太郎》。参见Foster,Michael Dylan.2009a.“Haunted Travelogue:Hometowns,Ghost Towns,and Memories of War.”Mechademia 4(1):164-81. Foster,Michael Dylan.2009b.Pandemonium and Parade:Japanese Monsters and the Culture of Yōkai.Berkeley:University of California Press. [65]Mitchell,Elvis.2002.“Spirited Away(2001)Film Review:Conjuring Up Atmosphere Only Anime Can Deliver.”New York Times,September 20. [66]Sragow,Michael.1999.“Pompoko.”New Yorker,September 20. [67]Otaku Center,January 19,2011, http://www.otakucenter.com/showthread.php?61165-Heisei-Tanuki-Gassen-Ponpoko-An-lchigosan-Review. [68]Napier,Susan J.2001.“Confronting Master Narratives:History as Vision in Miyazaki Hayao's Cinema of De-assurance.”Positions 9(2):467-93. [69]Thompson,Stith.1955.Motif-Index of Folk-Literature:A Classification of Narrative Elements in Folktales,Ballads,Myths,Fables,Mediaeval Romances,Exempla,Fabliaux,Jest-Books,and Local Legends.6 vols.Bloomington:Indiana University Press.1:19 （本文刊载于《东方文化学刊》第八期） (责任编辑：admin) |