注释：

[1] 编按：本文原标题为“The Folkloresque Circle Toward a Theory of Fuzzy Allusion”， 收于 Michael Dylan Foster, Jeffrey A·Tolbert 编：《The Folkloresque: Reframing Folklore in a Popular Culture World》（Logan: Utah State University Press, 2016)，页52-76。直译《类民俗的循环：走向模糊用典理论》欠通顺，故援《东方风神录》 曲名〈明日之盛，昨日之俗〉（明日ハレの日、ヶの昨日）重新下标，以示作者所谓「类民俗」圈子文化的层累造成。关于此种认识，亦可参考罗大佑〈往事2000〉歌词：「现在妳微笑的样子/过去将妳雕刻成形……往事在未来、在协议」。

 [2]1965年生，美国民俗学家，现加州大学戴维斯分校(University of California, Davis) 东亚语言与文化系日语教授。

 [3]译注：原文为Spirited Away，英语中spirit away意指神秘地或偷偷地拐走、偷走，和台湾译名《神隐少女》译法类似，故后文中作对等处理。

[4]译注：《百变狸猫》的日文全名为「平成狸合戦ぽんぽこ」’ぽんぽこ是击鼓的拟声词，其音译即Pom poko。编注：台湾译名为《欢喜碰碰狸》。

[5]我选择是日本的例子，因为日本民俗是我的研究领域,而且日本拥有高度发达的流行文化产业，不断产出着物质、出版、影视、电子类的文化产品，经常采用所谓的媒介组合(media mix)的策略，从民俗和历史中寻找创作素材。除此以外，研究海内外发行的产品，让我有机会触及类民俗其跨文化的一面。

 [6]译注：原文是animating folklore ,是「动画化」和「赋予生命」的双关,因为类民俗可以说是赋予了民俗新的生命。

[7]Ortabasi, Melek.2013.“(Re)animating Folklore: Raccoon Dogs, Foxes, and Other Supernatural Japanese Citizens in Takahata Isao’s Heisei tanuki gassen pompoko.”Marvels and Tales 27(2),254-75.

[8]编按：我小学六年级时有两位同学把它翻成「脱脱乐」，唱主题曲配动作，很受我们欢迎，老师莫可奈何。

[9]Talbot, Margaret.2005. “The Auteur of Anime: A Visit with the Elusive Genius Hayao Miyazaki.” New Yorker（2005January 17), 68.

[10]译注：可参见《となりの卜卜ロスタジオジブリ絵コンテ全集3》。

[11]译注：心理现实主义乃在小说创作中，将对现实生活的如实描写、心理探测、性格刻昼、环境写实与某些象征、怪诞手法融为一体。

[12]Talbot, Margaret.2005.“The Auteur of Anime: A Visit with the Elusive Genius Hayao Miyazaki.” New Yorker(January 17)：64-75.

[13]《我的邻居多多洛》收到了许多赞誉，但是票房并不漂亮。事实上，当数年后，吉ト力工作室通过授权销售多多洛的填充玩偶才实现盈利，这就是类民俗周边产品营销计尽的典范，参见 Talbot, Margaret. 2005. “The Auteur of Anime: A Visit with the Elusive Genius Hayao Miyazaki”New Yorker (January 17): 64-75.

[14]当然，我并非研究民俗在影视、文学和流行文化中的诸多存在形式的第一人。重要的（当然不止这些的)先行硏究有：

Bacchilega, Cristina. 1999. Postmodern Fairy Tales: Gender and Narrative Strategies. Philadelphia: University of Pennsylvania Press.

Benson, Stephen, ed. 2008. Contemporary Fiction and the Fairy Tale. Detroit: Wayne State University Press.

de Caro, Frank, and Rosan Augusta Jordan. 2004. Re-situating Folklore: Folk Contexts and Twentieth-Century Literature and Art. Knoxville: University of Tennessee Press.

Grobman, Neil R. 1979. “A Schema for the Study of the Sources and Literary Simulations of Folkioric Phenomena.” Southern Folklore Quarterly 43(1-2): 17-37.

 Greenhill, Pauline, and Sidney Eve Matrix, eds. 2010. Fairy Tale Films: Visions of Ambiguity. Logan: Utah State University Press.

Greenhill, Pauline, and Jill Terry Rudy eds, 2014. Channeling Wonder: Fairy Tales on Television. Detroit: Wayne State University Press.

Short, Sue. 2015. Fairy Tale and Film: Old Tales with a New Spin. New York: Palgrave Macmillan,

Smith, Kevin Paul.2007. The Postmodern Fairy Tale. New York: Palgrave Macmillan.

Sullivan, C.W.2001. “Folklore and Fantastic Literature.” Western Folklore 60(4):279-96.

Zipes, Jack. 2010. The Enchanted Screen: A History of Fairy Tales on Film. Clifton, NJ: Routledge.

[15]译注：ATU，即Aarne-Thompson-Uther Classification of Folk Tales, 指的是以三位民浴学家阿尔奈、汤普森、尤瑟命名的民俗故事类型分类系统，简称ATU分类法，其中550号至559号大类是「神奇的援助者」故事类型，该大类中的510 号即「灰姑娘」亚故事类型。

[16]Šmidchens, Guntis. 1999. “Folklorism Revisited.” Journal of Folklore Research 36(1): 51-70.

[17]Šmidchen描述的是赫尔曼•鲍辛格对民俗主义的早期定义。我想在这里以及后面的参考文献中确认的一点是，民俗主义是一个复杂而又微妙的概念，三言两语是解释不清的。其实，鲍辛格、汉斯·莫瑟(Hans Moser)以及其他欧洲学者们开创性的理论硏究，已经为今天的类民俗讨论奠足了基础。关于更多德国学界对民俗主义的讨论，请参见 Bausinger, Hermann. 1990. folk Culture in a world of Technology. Translated by Elke Dettmer. Bloomington: Indiana University Press.

Bendix, Regina. 1988. “Folklorism: The Challenge of a Concept.” International Folklore Review 6:5—15.

Moser, Hans. 1964. “Der Folklorismus als Forschungsproblem der Volkskunde.”

Hessische Blätter für Volkskunde 55:9-57.

[18]译注：即「神奇的援助者」类型中「灰姑娘」亚类型的「受到迫害的女主人公」变体。

 [19]Bendix, Regina. 1997. “Folklorismus/Folklorism.”in Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art, vol. 1, edited by Thomas A. Green, 337-39. Santa Barbara: ABC-CUO.

[20]Dargis, Manohla. 2014. “Dumped by Her Prince, So Watch Out.” New York Times, May 29.

[21]关于更多狸猫民俗, 请参见 Foster, Michael Dylan. 2012. “Haunting Modernity:

Tanuki, Trains, and Transformation in Japan.” Asian Ethnology 71(1): 3-29.

[22]关于《百变狸猫》令人深思的讨论，请参见Ortabasi, Melek. 2013. “(Re)animating Folklore: Raccoon Dogs, Foxes, and Other Supernatural Japanese Citizens in Takahata Isao’s Heisei tanuki gassen pompoko.” Marvels and Tales 27(2): 254-75.

[23]日本长野县的民俗「分福茶釜」的英文翻译请参见Mayer, Fanny Hagin.l984. Ancient Tales in Modern Japan: An Anthology of Japanese Folk Tales. Bloomington: Indiana University Press. 194-40

关于绘卷上的狸猫妖怪，请参见 Foster, Michael Dylan. 2015. The Book of Yōkai: Mysterious Creatures of Japanese Folklore. Oakland: University of California Press. 45-46

[24]Ortabasi, Melek. 2013.“(Re)animating Folklore: Raccoon Dogs, Foxes, and Other Supernatural Japanese Citizens in TaKahata Isao’s Heisei tanuki gassen porrmoko.” Marvels and Tales 27(2): 254-75.

[25]Machacek, Gregory. 2007. “Allusion.” PMLA 122(2): 522-36.

[26]关于文学民俗学(literary folkloristics)中用典的讨论，请参见Dolby, Sandra K. (Original work published 1989) 2008. Literary Folkloristics and the Personal Narrative.Bloomington: Trickster.

文中，他如此解释道：「在叙事表演的主位系统中，典故是被利用和依赖的对象，因为基础的文体传统(stylistic convention)支撑了叙事、表演，让其为读者所接受。

[27]lwabuchi, Koichi. 2002. Recentering Globalization: Popular Culture and Japanese Transnationalism. Durham: Duke University Press.

[28]译注：即指向性。

[29]译注：即coming-of-age tale，也可译作成人礼故事，因为这不仅是个常见的文学、影视题材，同时也是一个典型的民俗故事类型。

[30]译注：这是斯蒂•汤普森编着的《民间文学母题索引》对母题的分类方法。

[31]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.

[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